FATHER: What the hell was that?
(FATHER picks up a long curved grappling hook. He opens cabin door, waking the OLD MAN.)
OLD MAN: What is it?
(FATHER doesn’t answer, just goes back outside. OLD MAN hears the voice.)
DOLL’S VOICE: I want to play.
(OLD MAN gets up and goes outside. He sees the FATHER with the hook through his head.)
OLD MAN: Oh, my God.
CUT TO: (Present.)
OLD MAN: Like I said, the eyes play tricks.
SCULLY: But you saw something in that grocery store. That little girl and her dolly.
OLD MAN: Moment I saw them, I knew.
SCENE 16 (SCULLY and BONSAINT are getting back in the car. SCULLY’S phone rings.)
SCULLY: (on phone) Scully.
MULDER: (on phone) Hey. I thought you weren’t answering your cell phone.
(MULDER, tie undone, is sitting at a desk <SCULLY’S?!> which has an upside down map of Kentucky behind it. He is playing with the phone cord. Still bored.)
SCULLY: (on phone) Then why’d you call?
MULDER: (on phone) I, uh, I had a new thought about this case you’re on. There’s a viral infection that’s spread by simple touch …
SCULLY: (on phone) Mulder, are there any references in occult literature to objects that have the power to direct human behavior?
(BONSAINT gives SCULLY an odd look.)
MULDER: (on phone) What types of objects?
SCULLY: (on phone) Um, like a doll, for instance.
MULDER: (on phone) You mean like Chuckie?
SCULLY: (on phone) Yeah, kind of like that. (MULDER gets up and crosses to his desk)
MULDER: (on phone) Yeah, the talking doll myth is well established in literature, especially in New England. The-the fetish or Juju is believed to pass on magical powers onto its possessor. Some of the early witches were condemned for little more than proclaiming that these objects existed. The supposed witch having premonitory visions and things …. Why do you ask?
SCULLY: (on phone) I was just curious.
MULDER: (on phone) You didn’t find a talking doll, did you, Scully?
SCULLY: (on phone) No, no. Of course not.
MULDER: (on phone) I would suggest that you check the back of the doll for a - a plastic ring with a string on it.
(SCULLY shakes her head and hangs up.)
MULDER: (on phone) That would be my first …. Hello?
SCULLY: Let’s go talk to Melissa Turner.
SCENE 17 (Turner house. Sound of metal scraping.)
POLLY: (in her room, yelling) Where’s my popcorn?!
(MELISSA is in the kitchen making popcorn on the stove. She is very upset.)
MELISSA: It’s coming, Polly.
(Camera shows that OFFICER BUDDY RIGGS is dead. In his hand is his bloody nightstick.)
POLLY: Where’s my popcorn?!
MELISSA: (crying) It’s coming.
(Commercial 3.)
SCENE 18 (POLLY is in bed sleeping with the doll. MELISSA looks in the room, then goes to a cabinet and gets a hammer and a handful of nails. Later, MELISSA is frantically hammering nails into all the door frames and windows.)
POLLY: (calling from upstairs) Mommy … I can’t sleep.
MELISSA: You go back to bed, Polly. It’s way past your bedtime.
POLLY: No more pounding.
MELISSA: Go back to bed, sweetheart.
(Doll’s eyes pop open.)
