The X-Files "Fielder's Assist" Based on the characters and situations created by: Chris Carter and W. P. Kinsella. Screenplay by: Andrea Gilmore EXT. EST LONG SHOT Mid afternoon at an Iowa corn farm. There is a two-story white farmhouse and a red barn on the hill. The farm is normal in every aspect except that it has a baseball field built in the middle of the cornfield. CLOSER ON THE FIELD It's a very nice baseball field. No dugouts to speak of, just a wooden bench behind the fence. The bleachers are made of wood and off on the first base side. The side which faces the back of the farmhouse. There is a family sitting on the bleachers watching a baseball game. A man, woman and a young girl who is about 7 years old. (RAY: voiceover) At first glance one might think that it is one of those games during the fourth of July where everyone grabs an old uniform and plays a game of ball. But it isn't. CUTS: CLOSE UPS OF PLAYERS GOING TRHOUGH VARIOUS PLAYS We can barely hear their voices over the voiceover as they call the ball and make general baseball chatter. (voiceover continued...) These are the White Sox or, as they were named later after the 1919 World Series, the Black Sox. All eight of the suspended players are dead now of course, along with the rest of the team, and how they ended up on my field is a mystery I doubt I'll ever know the answer to. CUT TO: LONG SHOT Inside a business office downtown. It's well furnished and looks almost like an office for a lawyer or someone who makes the same amount of money. Three men stand inside. Two men, both in their mid-40's (though one is obviously older) stand next to each other on one side next to a large wooden writing desk, while the third man (MARK) stands on the other side. Clearly the two parties are at odds with each other. (voiceover continued...) I have questioned my sanity in this, and it wasn't until my brother- in-law Mark saw them, that I stopped wondering if maybe my family and I hadn't just all gone crazy together. CLOSE UP: Of MARK as he stands there. His face registers the fact that he knows he's fighting a losing battle with the other two men. CUT TO: MEDIUM SHOT The older of the two men, BLUESTIEN, shakes his head and walks over to Mark putting his arm around him in a patronizing way. BLUESTIEN Mark, we know you love your family. They are more than welcome to continue to living in the house for as long as they need to, but you know how much this land is worth. We can't have that useless baseball field sitting in the middle of valuable farm land. MARK (clearly having already had this argument with them.) But it isn't useless... BLUESTIEN (removing his arm and slightly frustrated) I'll tell you what. We'll call in a couple of experts. If they can attest to the validity of what you say is going on there. We'll keep it, if not we will be forced to remove it. MARK (sighs and nods) EXT LONG HIGH ANGLE SHOT, TO THE LEFT: A rented Ford Taurus drives into the frame and down the country road. CUT TO: INT SHOT OF CAR: FROM THE BACKSEAT Agent MULDER is driving while agent SCULLY rides shot-gun. SIDE VIEW OF SCULLY SCULLY (searching around the car for something) Mulder, you haven't told me a thing about this case yet. Where's the file? SIDE VIEW OF MULDER MULDER (keeping his eyes on the road) It's in my suitcase. SIDE VIEW OF SCULLY SCULLY (stating) In the trunk. SCULLY'S face takes on a careful look as she realizes she cannot get to the file. She studies MULDER trying to figure out why he doesn't want her to see it just yet. SCULLY All right...so where are we going? SIDE VIEW OF MULDER MULDER (same) To a farm. (beat) SCULLY (*Off stage *OS) Any particular farm? MULDER Yes. SIDE VIEW OF SCULLY SCULLY (casually looking out the windshield) Which farm? MULDER (OS) I'm not entirely sure. I was told it was down this road and that it had a baseball field. SCULLY turns to MULDER and gives him THE LOOK. A mixture of both disbelief and annoyance. SCULLY A baseball field. SIDE VIEW OF MULDER MULDER (drumming on the steering wheel a bit) That's what he said. SIDE VIEW OF SCULLY Giving up the interrogation for the moment she turns her head to look out the window at the endless rows of corn. EXT SHOT HIGH ANGLE REAR VIEW of their car driving away down a two lane county road lined with cornfields RADIAL WIPE EXT SHOT HIGH ANGLE FRONT VIEW of their car driving down a two lane country road still lined with cornfields. As car passes under the camera CUT TO... INTERIOR OF CAR: VIEW FROM BACKSEAT Agents are still sitting in their respective seats. SCULLY is beginning to get visibly antsy. SIDE VIEW OF SCULLY SCULLY Mulder... SIDE VIEW OF MULDER MULDER (turns to look at her) I promise, first gas station we come to I'll stop and ask for directions. SIDE VIEW OF SCULLY SCULLY (She looks at him, slightly worried. She then resumes looking out the window) VIEW OUT OF SCULLY'S WINDOW The corn is nearing maturity and is now about the height of the average person. A gust of wind comes by causing it to ripple and move almost like a giant green ocean. Shift angle so SCULLY'S reflection can be seen in the window. She has a bored if not slightly carsick expression. Suddenly we HEAR the car begin to decelerate. VIEW OUT THE WINDSHIELD We can SEE a one street town with no stoplights. The car is turning left into a Citgo(tm) gas station. SIDE VIEW OF SCULLY She looks towards the dashboard display EXTREME CLOSE UP OF FUEL GAGE It reads under one quarter of a tank SIDE VIEW OF SCULLY She frowns and quickly opens the glove box and pops the trunk. The car is parked by a pump and turned off by MULDER, who pretends not to notice what SCULLY is up to. We HEAR the door open and shut as he gets out to go pump the gas. SCULLY opens her door and gets out. EXT LONGISH SHOT: VIEW FROM A SHORT DISTANCE BEHIND THE CAR As SCULLY gets out of the car and walks back to the trunk. We see her back as she lifts the lid and begins to rifle through MULDER'S suitcase. CLOSE UP OF THE SUITCASE As SCULLY'S hands sift through the contents of the suitcase we SEE that between the shirts and the pants there is a manila folder. MEDIUM SHOT OF SCULLY She lifts the folder out and stops, then reaches in again. When she lifts her hand out she is holding a baseball glove. Slightly confused she looks at it. Finally she reaches back in the bag. She pulls out a baseball and sticks it back in the glove. Then she puts the glove back in the suitcase and zips it up. She shuts the trunk. LONG SHOT OF MULDER OVER ROOF OF CAR He's jogging back towards the car after talking with the gas station attendant. CUT TO INTERIOR OF CAR: VIEW FROM BACKSEAT Both agents get back in the car. MULDER starts it up and pulls out of the gas station turning to the left. MULDER It's up the road about ten miles. SIDE VIEW OF SCULLY SCULLY (paging through the contents of the folder) Mulder, why are we going out here? It's asking us to verify the fact that a major league baseball team is practicing and playing on private property. By the description it's a job for the local PD and barely at that. SIDE VIEW OF MULDER MULDER It has to do with the team that plays on the field. You'll understand when we get there. It's kind of difficult to explain. SIDE VIEW OF SCULLY SCULLY (arching an eyebrow) Since when has that ever stopped you? SIDE VIEW OF MULDER MULDER (grimaces slightly, suddenly he points out the windshield) Look at that! EXT LONG SHOT As the car drives up to a farm, turns left into the driveway and parks. LONG SHOT FROM A LITTLE WAYS IN FRONT OF THE CAR The agents exit the car and walk to the front of it. MEDIUM SHOT Of agents standing by the hood SCULLY (glancing back over her shoulder at the baseball field that can be seen off to the left of and behind the house) It's a nice field. MULDER (nods in agreement) Both survey the field for a moment. In the background we HEAR a screen door open and shut LONG SHOT Of RAY walking out of the farm house towards the camera. His demeanor is relaxed and curious. DOLLY backwards as he walks towards the camera to keep the long shot until he reaches the agents. MEDIUM SHOT OF RAY. RAY (friendly) Hi, can I help you folks? MEDIUM SHOT OF AGENTS MULDER (as he and SCULLY both flash their FBI badges) Uh, yes. I'm Special Agent Mulder and this is my partner Agent Scully. We're looking for Ray Ki... There is a pause as MULDER suddenly draws a blank on the man's last name and SCULLY glances over at him in surprise. MEDIUM SHOT OF ALL THREE FROM THE SIDE RAY (offering his hand to shake) Kinsella. What can I do for you?Y MULDER Mr. Kinsella... He is interrupted by a wave of RAY'S hand. RAY Please, just Ray. Mr.'s a little too formal for around here. MULDER (correcting himself) Ray, there have been reports of a major league baseball team using your field. RAY Yes? SCULLY You needed someone to verify this fact? MEDIUM SHOT OF RAY RAY (slightly confused) No, I didn't call anyone in. MEDIUM SHOT OF MULDER AND SCULLY MULDER (awkwardly) Well... we're sorry for disturbing you then... MULDER and SCULLY share a confused and slightly suspicious glance with each other. MEDIUM SHOT OF RAY RAY (suddenly) Would you guys like to stay for dinner? Annie just put it on and the nearest motel is over an hour away. MEDIUM SHOT OF SCULLY SCULLY Ray, we'd hate to impose and if it really is that far to the nearest motel we should get going. MEDIUM SHOT Over MULDER'S right shoulder to face RAY. RAY (with a dismissive gesture) Ah, don't worry about it! It's not often we get visitors around here. MEDIUM SHOT OF MULDER AND SCULLY MULDER and SCULLY look at each other and shrug MULDER (motioning him ahead) Lead the way. CUT TO INTERIOR OF THE DINNING ROOM CLOSE UP OF TABLE PAN AROUND TO REVEAL: There is a steaming meatloaf, cooked corn, tossed salad and even a large bowl of green jello. ZOOM BACK to include everyone seated at the table. MULDER and SCULLY sit next to each other. RAY is sitting next to ANNIE his wife and between ANNIE and SCULLY is KAREN, RAY and ANNIE'S 7-year-old daughter. SCULLY is sitting by a window that faces the ball field. AD-LIB DINNER CHATTER for a few moments... MEDIUM SHOT OF ANNIE AND RAY ANNIE (suddenly) If you don't mind my askin'. Who was it that called you out here? MEDIUM SHOT OF MULDER AND SCULLY MULDER (laying a fork down on his empty dinner plate) Actually it was a business if I recall. Bluemark Properties Inc. MEDIUM SHOT OF RAY AND ANNIE RAY and ANNIE exchange a quick glance. MEDIUM SHOT OF KAREN KAREN That's where Uncle Mark works! MEDIUM SHOT OF ANNIE ANNIE My brother. MEDIUM SHOT OF SCULLY SCULLY (nods and let's her gaze wander out the window. Her face suddenly registers surprise) VIEW OUT THE WINDOW We can see the ball field and 9 men in old White Sox uniforms practicing on it. CUT TO MEDIUM SHOT OF RAY AND ANNIE RAY follows SCULLY'S gaze. He stands up and his upper half goes out of frame. RAY Come on. I'll introduce you. He walks out of frame. EXT. LONG SHOT TRUCK with them as RAY, MULDER, and SCULLY walk up to the team. One of players comes over to greet them. MEDIUM SHOT OF SHOELESS JOE JACKSON JOE Evening Ray. MEDIUM SHOT OF RAY RAY Hey Joe. These are Agents Mulder and Scully from the FBI. MEDIUM SHOT CONTAINING ALL FOUR MULDER and SCULLY stand to the right, JOE stands to the left, while RAY stands between JOE and the agents, he is facing the camera. RAY (continued) ...Mulder, Scully. This is Shoeless Joe Jackson. JOE looks at the agents for a second then turns back to RAY. JOE Why are they out here? RAY We don't know it's... He turns to Scully to provide the rest of the information. MEDIUM SHOT OF SCULLY SCULLY Bluemark Properties Inc. called us out here to check and see if a professional baseball team was using this field. CLOSE UP OF JOE As his eyes shift to look at RAY. MEDIUM SHOT OF RAY There is an internal communication going on here. RAY just shrugs. He doesn't know why Bluemark would call them in. MEDIUM SHOT OF ALL (minus JOE because it's from MULDER'S POV) MULDER has been trying to see just exactly who it is that SCULLY and RAY are talking to. He glances around a little comical, looking from them, to the empty space in front, and finally back to them. MULDER (stage whisper) Hey, Scully. Who are you two talking too? SCULLY (gives Mulder a strange look before replying) Shoeless Joe Jackson. MULDER (still whispering) Um, Scully? I hate to break it to you, but he's dead. SCULLY (reacts visibly to this but finally shrugs it off) I don't know what to tell you Mulder. CUT QUICKLY BETWEEN JOE AND RAY AS THEY EXCHANGE A KNOWING GLANCE MEDIUM SHOT OF JOE JOE (gesturing towards Mulder) He doesn't... MEDIUM SHOT OF RAY RAY (shaking his head and sighing a little) No... MEDIUM SHOT OF ALL FOUR (JOE included) Positions the same as before. MULDER Scully, can I talk with you for a moment? CUT TO: LONG SHOT MULDER leads SCULLY up from the field to the car. Both agents stand by the hood of the car. JOE and RAY can be seen in the background talking to each other and occasionally glancing over the baseball field. MEDIUM SHOT OF BOTH MULDER (surprised) You're telling me the report is true?! That Shoeless Joe Jackson and the other's are actually here and playing on this field?! SCULLY (her cool gaze drifts over the field to watch the team practice) All I'm saying Mulder, is that this *is* a professional baseball team and they *are* practicing on this field. As for *who* they are. We weren't asked that. MULDER (throwing his arm wide in the direction or the field) Scully, there's no one out there!!! Both agents stare at each other, neither willing to back down. It's an unnerving moment as they realize the skeptic is the believer and the believer the skeptic. CUT TO: MEDIUM SHOT A few hours later. It's twilight as MULDER leans with his forearm against one of the porch pillars and regards the ballfield, his thoughts a million miles away. A gentle summer breeze plays across the rows of corn and blows his hair back. Suddenly MULDER comes back to the present and sighs. MULDER (voiceover add echo) Now you know how I feel... He taps his fingers on the pillar in silent frustration. We HEAR the screen door open and close and RAY'S footsteps as he walks into frame and comes up to join MULDER. MULDER Nice night. RAY (breathing in) Yep. PAN to the field as the last residual sunlight fades and the stadium lights come on. CUT TO: MEDIUM SHOT MULDER'S left side from the back as he faces the field. We can see the back of his head and upper torso on the left half of the screen. We see a side view of RAY waist up on the right side of the screen. RAY turns to MULDER RAY You play? MULDER (neutrally still watching the field) When I was a kid. (beat) MULDER (turns to face RAY) You? RAY (turns to face the field) A bit. (beat) MULDER turns back to face the field. RAY (still watching the field) I, uh, have an extra glove if you... MULDER It's in my suitcase. MEDIUM SHOT From the front. Both men turn to look at each other and grin. CUT TO: LONG SHOT The back of the car is CLOSE in on the lower left corner of the frame and we can see MULDER jogging from the porch towards it. His feet are crunching the driveway gravel. MEDIUM SHOT From the side as MULDER reaches the trunk, he unlocks it with a key and digs in his bag to find his glove. He pulls it out and shuts the trunk without bothering to repack. LONG SHOT RAY'S POV from home plate as MULDER comes jogging back to the field. LONG SHOT The two of them stand at home plate. RAY is holding a bat. RAY (motioning to the outfield) Which field? MULDER (slightly surprised) Umm, right. MULDER looks at RAY questioningly. RAY (answering MULDER'S unspoken question) You pick it up after a while. Go on out there I'll knock a few to you. LONG SHOT From the front as MULDER jogs towards right field. DOLLY back with him as he comes. LONG SHOT Of RAY as he raises the ball in the air to signal MULDER then hits it out there. LONG SHOT MULDER'S POV PAN UP with the ball as it sails high into the black sky. LONG SHOT FROM BACK AND TO THE LEFT OF MULDER As he runs forward and catches the ball. CUT TO: MEDIUM SHOT SCULLY and ANNIE stand by the window watching MULDER and RAY play. ANNIE So, are you wondering why we built a baseball field in the middle of our crop? SCULLY (permitting herself a small smile) Yes, I was actually. ANNIE (grins) It certainly did seem crazy to begin with. Nobody around here is really that open to doing things differently, especially if it doesn't make immediate sense. They thought he was nuts for doing it, and I was nuts for going along with him. SCULLY (nods though it is clear these words mean something entirely different to her) ANNIE (seriously) I'm glad we did though. I mean, who knew this was going to happen? SCULLY (thoughtfully echoing her) Who knew... CUT TO: Various LONG and MEDIUM shots of MULDER fielding balls. LONG SIDE SHOT Of MULDER running forward to scoop up a grounder, he turns and fires it to second. EXTREME CLOSE UP Of a glove snapping shut with the ball inside. ZOOM BACK SLOWLY TO REVEAL A baseball player in an old White Sox uniform. MULDER'S POV: PAN RIGHT TO LEFT SLOWLY AROUND FIELD Starting at home plate we can see all of the players standing in their respected positions silently looking at us (aka MULDER). Finally we turn around to see the right fielder standing not ten feet behind us. MEDIUM SHOT Of RAY at home plate as he slings the bat over his shoulder and smiles. CUT TO: LONG SHOT FROM THE BACK as MULDER and SCULLY walk down the hall to the guestrooms suitcases in hand. CUT TO: WIDE ANGLE Of SCULLY'S room as moonlight streams in the window. SCULLY is asleep under the homemade quilts in an old twin bed. CLOSE UP OF THE ANALOG CLOCK ON THE NIGHTSTAND NEXT TO THE BED It reads 1:15 am and we can HEAR it quietly ticking. We HEAR a gentle knock on the door. LONG SHOT Of SCULLY throwing back the covers and walking to the door. She is wearing her purple pajamas. MEDIUM SHOT: MULDER'S POV SCULLY opens the bedroom door. MEDIUM SHOT: SCULLY'S POV Mulder is standing in the doorway in boxers and a grey t-shirt. MULDER (apologetic) Can I talk to you for a moment? SCULLY (not very surprised, moving to the side so he can walk in) Sure. MEDIUM SHOT OFF TO THE SIDE AND FRONT TRUCK with MULDER to the window in SCULLY'S room that overlooks the ball field. He opens it. SCULLY follows and soon enters the frame to stand next to MULDER at the window. MEDIUM SHOT Camera facing the agents as they lean against the windowsill and look outside. MULDER (in soft amazement) You really saw them. SCULLY So did you. MULDER (disgusted) Eventually. SCULLY (is silent a beat) MULDER You know... I expected to get here and have this happen. But I figured it would be the way it always is. I would see them, you wouldn't. We'd argue over which viewpoint was the correct one, and then... MULDER shrugs. MULDER But I didn't expect this. SCULLY (slightly teasing) Are you saying you're disappointed that just once I might've opened myself up to an extreme possibility? MULDER (taking her seriously) No, I'm saying I'm disappointed with myself. Or something of that nature. I wanted to believe... SCULLY (suddenly) Mulder, have you ever seen the movie "Hook"? MULDER (taken aback, he turns to look at her) Yes. SCULLY Do you remember the part where they were all going to eat dinner, but Peter couldn't see the food? MULDER (as his mind goes a mile a minute to find the angle she's working) Yeah... SCULLY Peter wanted to believe the food was real. But it wasn't, not until he stopped wanting to believe and just believed. MULDER (he turns and looks back out the window again) And Rufio got blue cream in the face. So you're saying that the reason I didn't see them was because deep down, I doubted I would? SCULY All I'm saying Mulder is that no matter how much you try to deny it, you still have some common sense left. She turns to him and gives him a tiny smile. MULDER (getting up with a slight chuckle) And here I thought I'd gotten it all. MEDIUM SHOT DOLLY forward behind them as they walk back to SCULLY'S door. SCULLY (opening the door) Get some sleep Mulder. He walks out then turns and looks at her MULDER Thanks Scully. SCULLY Anytime. MULDER (wryly) But preferably not in the middle of the night. SCULLY Anytime. MULDER (thanks her for this last statement with a look then turns and walks down the hall) MEDIUM SHOT Over SCULLY'S shoulder as she shuts the door. CUT TO EXT LONG EST. SHOT Of the farm. The sun is just rising. CUT TO INT SHOT LONG FROM THE LIVING ROOM INTO THE DINNING ROOM They are all sitting at the table again minus Karen who can be seen just to the right of the screen watching cartoons on the TV. Ray has just finished telling the story of the ballfield. MEDIUM SHOT Of the entire table. RAY (explaining) ...so I didn't sell out to the Bluemark. Terence got invited to go out and see what...ever it is that is out there. And later that night we had close to 300 people come in to watch the game. RAY looks down at the table. RAY We made a lot of money, He looks back up at them. RAY ...but it wasn't enough to cover the mortgage. MULDER (surprised) So that's what happened to him? RAY (grins) Yep, Terence Mann is out wandering around in my corn somewhere...along with everyone else. MEDIUM SHOT OF MULDER MULDER looks down at his plate with a slightly embarrassed "there goes my theory" look. MEDIUM SHOT OF SCULLY SCULLY (is watching Mulder, she smirks then turns to Ray..) What about Bluemark? MEDIUM SHOT OF RAY RAY I don't know. We never heard from them, no news is good news I guess. We HEAR the doorbell ring. ANNIE gets up and walks out of frame. We HEAR her answer it ANNIE (OS) Hi, com'on in. She walks back into the dinning room. Everyone stands up. MEDIUM SHOT Of ANNIE and MARK as everyone comes over to greet him. Once they are all in frame... ANNIE Agents Mulder and Scully this is my brother Mark. AD-LIB a round of handshaking and pleasantries. ANNIE (turning to MARK) So what brings you here? MARK (genuinely sorry) Annie, I'm afraid I have some bad news... (beat) MARK (...continued) My partners, they're going to leave the field and... RAY (breaking in) You sure this is bad news? MARK Trust me it is. (he takes a deep breath) After hearing of all the money you guys made the first night, they..uh..well they want to expand the enterprise. More bleachers, bigger concession stand and that sort of thing. Because they now own the land they plan to take the whole thing over. RAY (under-stating) That's bad. MARK That's not all. I don't know how to tell you this but... (he looks at ANNIE) they're going to tear down the house and construct a museum slash office. They're prepared to offer you a house in town and... MEDIUM SHOT OF ANNIE She's pissed. ANNIE They can't do that!!! MEDIUM SHOT OF ALL FOUR MULDER I-I'm sorry, but I think we are somewhat to blame for this. RAY (confused) How? MULDER Well, last night right before I went to bed I called in my report to the FBI, it looks like they got the news. MARK (angry) Those... MEDIUM SHOT OF ANNIE AND MARK ANNIE is skewering him with a "watch-your-language-around-my-daughter" look. He sees it. MEDIUM SHOT OF MARK MARK (a little more subdued) ...jerks! MEDIUM SHOT OF ANNIE ANNIE There's gotta be something we can do to keep them from just taking it like this. We're only short about two-hundred dollars. MEDIUM SHOT OF MARK MARK (bitter) Annie I think we have to face facts. It doesn't matter what they think about any of this! They set me up the entire way and I fell for it. MEDIUM SHOT OF RAY RAY (looking at MARK OS) What? How? MEDIUM SHOT OF MARK MARK (still bitter, turns to look at RAY OS) I told them Ray. I told them the whole story. And like a fool I believed that they actually cared about what happened to you. They told me they would send in some "experts" to check it out. MEDIUM SHOT OF RAY RAY (looking at MARK OS) I still don't see how... MEDIUM SHOT OF MARK MARK (looking to each of them in turn) You have to look at it from a business perspective. We have a farm with a baseball field in the middle of its primary crop. It's eating up a lot of money. But on the other hand, what happened last night might not be a fluke. People came. People came and paid money to see what goes on here. They paid a lot of money... MEDIUM SHOT OF SCULLY SCULLY (understanding) More money than what the crop would bring in... MARK Right! So now, instead of tearing down the field they are going to leave it up. And turn it into a business. We HEAR another knock at the door. ANNIE leaves to get it. VIEW OVER HER SHOULDER as she opens the door to SEE... RAY (OS) Terence! TERENCE (smiling and walking inside) Hi Ray! ANNIE shuts the door. MEDIUM SHOT OF RAY RAY (surprised) You're back! Already?! What...? We HEAR another knock at the door. MEDIUM SHOT OF ANNIE ANNIE rolls her eyes and opens it MEDIUM SHOT OF ANNIE FROM THE FRONT. Her face looses it's slightly playful "Alright who is it this time?!" look and turns to stone. She stares at... MEDIUM SHOT OF THE TWO MEN FROM EARLIER BLUESTIEN and his LACKY BLUESTIEN (smug) I'm sorry folks. You're going to have to leave now. We have things to do. The movers will be by tomorrow morning to pack you up. For now, there's a motel in town you can go to. All expenses paid of course MEDIUM SHOT OF RAY TERENCE is standing next to him. RAY (angry) You... He is silenced by TERENCE who puts hand on his arm. He looks at TERENCE CLOSE UP OF TERENCE His eyes hold a secret and a smile barely tugs the corner of his mouth. MEDIUM SHOT OF THE TWO RAY (releases his anger in a deep breath and agrees to silence for the moment. Then, curtly to BLUESTEIN) May we have a few minutes to pack the essentials? BLUESTIEN (with faux graciousness) Of course. CUT TO INT SHOT: RAY'S VW VAN as they drive towards the city. VIEW FROM FRONT WINDSHIELD: RAY is driving. TERENCE is riding shotgun. ANNIE and KAREN sit in the back observing the passing scenery with mild interest. Through the back window we can SEE MULDER and SCULLY'S FORD TAURUS following. RAY (to TERRENCE) So, what's the plan? TERENCE turns towards the door so all we see is his very broad back. He turns back towards us and in his left hand is a thick manuscript. TERENCE What do think for a title: "Shoeless Joe Jackson Comes to Iowa"? MEDIUM SIDE SHOT OF RAY As he gives a quick glance at TERENCE and the stack of papers. RAY (with a slight gleam in his eye) Is that...? MEDIUM SIDE SHOT OF TERENCE TERENCE (satisfied) Yep. MEDIUM SIDE SHOT OF RAY RAY (excited) Who's the nearest publisher? MEDIUM SIDE SHOT OF TERENCE TERENCE (calmly) I'll show you... CUT TO EXT SHOT HIGH ANGLE FROM BEHIND follow the car as it leaves the freeway and enters the city. CUT TO EXT LONG SHOT FROM THE SIDE Of the VW as it pulls up to park in an underground parking lot. The TAURUS then pulls up right in front of the camera to park next to it. We can SEE through it's driver side and passenger windows to the VAN. SCULLY can be seen as she rolls down her window and motions for RAY to do the same. RAY'S POV down through the passenger side window. Like what the teller at a drive through would see. SCULLY leans back and MULDER'S head leans down into frame. MULDER What's going on? MULDER'S POV looking up at RAY leaning out of the window of the VAN RAY I think we found a way to save the farm. RAY'S POV AGAIN MULDER How? MULDER'S POV AGAIN RAY suddenly turns like he's been tapped on the shoulder, and in fact he has. He and TERENCE exchange a few words then RAY leans out the window again. RAY This could take a while, why don't you Mark, Annie, Karen, and Terry go have lunch. They can explain it to you. I'll take care of this and join up with you later. RAY'S POV AGAIN MULDER (shrugging and glancing at SCULLY) Okay. CUT TO LONG SHOT TRUCKING WITH RAY He walks up the stairs of the old publishers building. He is mumbling to himself as he goes. He takes the stairs slowly in no hurry as he tries to figure out his latest dilemma. RAY (to himself) Why? Why my name? Why not his? I don't want the attention... He reaches the closed door of the office and stops for a second. Then opens it and walks in. CUT TO HARDEE'S FAST FOOD RESTAURANT LONG SHOT Of MULDER, SCULLY, TERENCE, MARK, ANNIE, and KAREN are all sitting around a table. KAREN is munching on the fries from her happy meal and ANNIE is watching as TERENCE just finished explaining the situation to the agents. MEDIUM SHOT OF MULDER AND SCULLY MULDER So that's the plan? You take the money from the book sales and use it to buy back the farm? MEDIUM SHOT OF TERENCE TERENCE Yes. The house will be lost of course, but it can always be rebuilt. MEDIUM SHOT OF ANNIE AND KAREN ANNIE (nods in agreement, a little sad, then turns to wipe ketchup from KAREN'S mouth.) MEDIUM SHOT OF THE AGENTS AGAIN SCULLY Will the farm actually be for sale? MEDIUM SHOT OF MARK MARK That's the thing. As a joke, Bluestien bought the farm at market price and put in some fine print. If someone were to come along and offer something higher than what he contract is, it would be such that he would have to sell. LONG SHOT OF ALL AGAIN There is silence as they all ponder this last statement. CUT TO LONG SHOT As RAY sits on the couch in a waiting room of an office building. The interior is rather dark. The couch is brown leather and the walls are only a shade darker made of some rather cheap looking wood. A tall potted plant sits in the corner next to the end table, which holds magazines within easy reach of the couch. RAY idly picks up a magazine and begins to flip through it. Then he looks up to the analog pendulum clock on the wall. CLOSE UP OF CLOCK It reads 1:15. LONG SHOT OF ROOM RAY sighs and goes back to the magazine CLOSE UP OF CLOCK The hands dissolve from 1:15, to 2:35, 3:10, 4:20. CLOCK MORPHS TO SHOW A NEW CLOCK Hands are still at 4:20 ZOOM BACK SLOWLY TO REVEL A smaller older man, the PUBLISHER, with grey balding hair and spectacles sits in an office room styled the same way as the waiting room. He is sitting at a large writing desk below the clock looking at the manuscript. He frowns a moment. MEDIUM SHOT OF PUBLISHER FROM FRONT OF THE DESK He sits at the desk and stares at the papers, thinking. Finally he reaches a decision, nodding to himself he stands up. LONG SHOT OF WAITING ROOM RAY is sitting on the couch with his head tilted back. He appears to be sleeping. We HEAR a "CLICK" as the door opens. RAY jerks awake and stands up. MEDIUM SHOT OF DOOR TO OFFICE ROOM The door is the same color as the walls and has an opaque window in the upper half. Through the door steps the PUBLISHER. PUBLISHER (amazed) We will most definitely publish this. May we write you a check for $200 dollars now, and get the rest to you later? With a percentage of the books sales of course. MEDIUM SHOT OF RAY Stares at the man in shock. It's enough to cover what is left of the mortgage. PUBLISHER (OS) ...Are you the author? RAY (snapping out of it and shaking his head slightly) No. MEDIUM SHOT OF MAN PUBLISHER (frowns) I'm sorry, I'm afraid I cannot publish this until... MEDIUM SHOT OF RAY RAY It was written by a friend of mine. But he wants to use another name. MEDIUM SHOT OF MAN PUBLISHER Which name? MEDIUM SHOT OF RAY RAY (not thinking) Well, he wanted to use mine but... RAY trails off as he realizes what he has just said. Then realizes he doesn't really have any choice but to go on. RAY (finishes somewhat lamely) ...but I don't really want my name on it either. MEDIUM SHOT OF MAN PUBLISHER (perplexed) Why not? It's a very good book! MEDIUM SHOT OF RAY RAY Well, my friend. He's written some very good books before, but after reading them people just wouldn't leave him alone. It's been years since he's published, but he's paranoid and quite frankly...now I am too. MEDIUM SHOT OF MAN PUBLISHER He's not paranoid if they are truly out to get him. The MAN waits a moment and studies RAY. PUBLISHER This friend of yours, he wouldn't be Terence Mann by any chance? MEDIUM SHOT OF RAY RAY (his face loses all expression) MEDIUM SHOT OF MAN PUBLISHER (laughs, then fondly...) I knew from the moment I finished the first paragraph that it was his. I've tried to keep up with him over the years. We met once at a seminar he...(he trails off lost in a memory, then coming back to the present...) I have to say though, you sure didn't look like him. MEDIUM SHOT OF RAY RAY (grins, then...) No, I don't. He told me that if I had any troubles to tell you "They will start thinking for themselves when they have to stop looking to us for answers." MEDIUM SHOT OF MAN Nods as if that was just what he was waiting to hear, then motions for RAY to join him inside the office. PUBLISHER Come into my office. I'll write him the check...I think he's got the right idea with using a pen name. Do you think we can work something out? MEDIUM SHOT OF RAY He's not thrilled with the idea but the point is rather moot right now compared to the loss of his home. RAY I'm sure we can. CUT TO INT SHOT: VIEW INSIDE FROM THE WINDSHIELD OF RAY'S VW VAN Positions same as before with TERRENCE and RAY in front. ANNIE and KAREN in the back. It's night and they are driving back to the farm. MULDER and SCULLY'S car can be seen through the rear-window following them back. ANNIE You sure you have everything? RAY Yeah. TERENCE It's a good thing you met those FBI agents. You know the paperwork would've never gone through that fast without them. RAY (teasing) You saying I have friends in high places? TERENCE (chuckling, shakes his head) CUT TO INT. SHOT: INSIDE FROM THE WINDSHIELD OF MULDER AND SCULLY'S TAURUS. Both agents are looking straight ahead as they follow RAY back to the farm. SCULLY That was abuse of power you know. MULDER Beats what Bluestien's doing. SCULLY Kersh will find out. MULDER I don't care. SCULLY Neither do I. They share a serious look, both knowing the possible repercussions of their actions, before resuming looking out the windshield. EXT LONG SHOT: HIGH ANGLE as the VEHICALS arrive at the farm. The stadium lights are on and the baseball players are standing in the field. LONG SHOT FACING BLUESTEIN and his LACKY stand on the right side of the frame. In the far back we can see MULDER, SCULLY, RAY, ET. ALL get out of their vehicles and begin walking towards the field. BLUESTIEN'S face is angry. LONG SHOT Of the ball team all standing together on the pitching mound staring at BLUESTIEN. Their arms are crossed and their body language radiates defiance. LONG SHOT As RAY and everyone reach BLUESTIEN. RAY glances at the ballplayers off-stage, then turns to BLUESTIEN. RAY I want you off my farm. BLUESTEIN (turns to RAY) Excuse me?! RAY You heard me. The farm is mine and I want you to leave. BLUESTEIN (glares at him) RAY (pulls out the title and waves it a bit) Hm? BLUESTEIN (turns to MARK in sudden anger) You! You told them!!! MEDIUM SHOT OF MARK MARK (calmly) Yes I did. LONG SHOT OFF ALL BLUESTEIN (still looking at MARK angrily) Don't bother showing up to work on Monday. MEDIUM SHOT OF MARK MARK (tightly) Don't worry, I won't. LONG SHOT OF ALL BLUESTEIN gives all of them one final glare and storms off to his car. The LACKY follows his face neutral. CUT TO LONG HIGH ANGLE SHOT Of the farm the following afternoon. The atmosphere is a carnival one. People are lining up at a ticket table as the teams warm-up on the field. Others are finding seats along the baselines and unpacking picnic baskets. MEDIUM SHOT As MULDER and SCULLY walk up to the ticket table. MEDIUM SHOT Of MARK who is sitting behind it. MEDIUM SHOT OF THE AGENTS MULDER (pulling out his wallet) Two please. MEDIUM SHOT OF MARK MARK (taking their money) Okay... (hands them their change) LONG SHOT FROM THE SIDE SCULLY Any chance of Bluestien pulling this again? MARK Nope. I've got a job with a bank in-town. Ray has changed over to it and I, am now in charge of the plan. MULDER (nods) MARK (smiling at them and shaking their hands one at a time) Thanks for all the help. MULDER Our pleasure. MARK (motioning them through) Enjoy the game. Next! CUT TO LONG SHOT: VIEW FROM THE OUTFIELD LOOKING TOWARDS THE BLEACHERS MULDER and SCULLY can be seen finding a spot in the first row of bleachers. The noise of the field and crowd over-come the agents talking and all we can do is observe their actions as they sit and watch the warm-ups. CLOSER ON THE AGENTS THOUGH STILL REMAINING WITH THE LONG SHOT FEEL. The subject is the crowd in the bleachers while MULDER and SCULLY are more points of interest rather than the actual subjects. We are still unable to hear them over the general noise of the crowd. MULDER points out players to SCULLY explaining characteristics of each. SCULLY nods and seems genuinely interested. She motions to Joe and asks if he played without his shoes for his entire career. MULDER chuckles and shakes his head "no" before continuing with answering her question by telling her the history behind the name. He holds his last gesture towards the player for emphasis as he finishes telling her. It slowly dawns on SCULLY what she asked and she begins to laugh. MULDER grins enjoying the rare moment. Then they both compose themselves as the game starts. JOE is batting first. MEDIUM SHOT FROM PITCHERS MOUND FACING JOE His eyes are watching the ball as it sails in. LONG SHOT FROM THE BLEACHERS We watch as JOE connects with the ball. Camera PANS and ZOOMS up to follow the ball as it sails into the sky where we lose it in the sun. FADE TO WHITE. RUN CREDITS. PRODUCERS (people I would like to meet) Andrea Gilmore Chris Carter Frank Spotnitz CAST (reasons why this will never actually be produced.) Ray Kinsella KEVIN COSTNER Agent Fox Mulder DAVID DUCHOVNY Agent Dana Scully GILLIAN ANDERSON Terence Mann JAMES EARL JONES Annie Kinsella AMY MADIGAN Shoeless Joe Jackson RAY LIOTTA Karen Kinsella A LITTLE GIRL Bluestien A GUY Bluestien's Lacky ANOTHER GUY Publisher AN OLD GUY Baseball Players LOTS OF GUYS Crowd Extras FRIENDS OF CAST MEMBERS First Cameraman SOMEONE WITH FRIENDS IN HIGH PLACES Second Cameraman FRIEND OF THE FIRST CAMERAMAN 1st Unit ABOUT THE SAME AMOUNT AS USUAL 2nd Unit NOT NEARLY AS MANY AS THEY NORMALLY NEED Music JAMES HORNER Original X-Files Theme MARK SNOW Key Grip KING OF THE GRIPS Grips BATBOY, BATGIRL Assistants to Stars SOME REALLY LUCKY PEOPLE