old

FADE IN:

EXT. CHICAGO CITY NORTH SIDE. NIGHT.

It's a dark, misty night. We see a Synagogue set back off the street. No one is around.

ANGLE ON: ROAD
We see an old black car pull up beside the Synagogue; the engine is turned off, the door opens slowly and RABBI ZWAKH gets out. He is in his sixties, dressed in traditional dress. He has long grey hair and a beard that is braided, and is wearing a scull cap.
He slams the door then moves towards the Synagogue.

MOVING:
RABBI ZWAKH P.O.V. As he nears the Synagogue, he sees SS signs and swastikas sprayed on the wall. He walks past it all and up to the door.
Near the door is an upside down cross painted in blood.
He stops by the cross. His shoulders drop a bit and he shakes his head in disgust. He looks at the cross for a moment. Then he looks around as if he feels someone is watching him. He then moves to the door.

The lock has been smashed and the door is ajar. He pushes it open and moves into the Synagogue. A shadow moves across his face and he steps back, scared.

V.O. AARON
Rabbi?

RABBI ZWAKH
Aaron... it's okay, it's me.

RABBI ZWAKH moves forward and AARON comes from the shadows. He is an old, frail, emaciated man dressed completely in black. As he moves forward into the light, we see he has had the SS sign carved into his forehead. He moves forward slowly. His eyes are filled with fear.

AARON
Rabbi they took the silver.

The RABBI says nothing. He is looking at AARON'S forehead.

RABBI ZWAKH
They shed your blood Aaron.

2

AARON
It matters not.
(looks at the floor)
They took the silver. The cup.

RABBI ZWAKH takes hold of AARON'S chin, lifts his head and stares into his eyes.

RABBI ZWAKH
It matters not?
(hold a moment)
It matters a great deal.
The shedding of blood of one so close
cannot be ignored anymore.
Come closer.

RABBI ZWAKH lets go of AARON'S chin.
AARON moves in front of the RABBI and closes his eyes. The RABBI looks up to the heavens and whispers some words quietly and slowly wipes his hand across AARON's forehead. As he does so the cuts are healed. AARON opens his eyes, smiles a little and nods. The fear has left him.

AARON
Shall I inform the police?

RABBI ZWAKH shakes his head and his eyes fill with sadness. He starts to walk away.

RABBI ZWAKH
No! Not this time.
(he looks around the Synagogue)
Get the book of Sohar and meet
me in the tower.

AARON'S eyes fill with excitement. He nods and backs away.

AARON
Yes Rabbi, yes.

CUT TO:
INT. MEETING HALL OF THE ARYAN BROTHERHOOD. NIGHT.

3

We see a group of thirty men sitting around a large screen T.V. watching old black and white footage of the Waffen SS marching through BERLIN with Hitler watching on. The men are all between 20-40 years old. They all have short cropped hair. Most have small goatee beards, earrings and tattoos. Some are drinking, others are smoking, but no one talks as they watch the man they idolise. The room is bare except for a table against the wall draped with a nazi flag. Sitting on the table are three pieces of sliver: a plate, an ornate cup, and a Menorah (seven branch candlestick).

ANGLE ON: Various faces intensely watching the screen.

F.X. A loud crash as the door into the hall is smashed off its hinges.

All the faces turn to look at the door and see it fly six feet into the room.

ANGLE ON: All the men.

Before the door has landed they are all getting to their feet, some pulling guns from their waist bands, others picking up the chairs they were sitting on. Everyone is moving, ready for action, then they all freeze in fear. Hold for a moment. Then one of the men lifts his gun and fires; others do the same. They empty their guns and start to re-load. We now see real panic and horror filling their eyes and some of the men start to move fearfully backwards.

DISSOLVE TO:

EXT: MEETING HALL CAR PARK TWENTY MINUTES LATER. NIGHT.

The parking lot has five police cars in it. A group of three policemen are off to one side, talking quietly. We see a young policeman come quickly out of the hall; his face is white and he is trying to hide his shock.
A police car screams to a halt in the parking lot and a blond haired, blue eyed giant jumps out and rushes towards the door.

YOUNG POLICEMAN
I wouldn't go in there.

BLOND GIANT
(southern drawl)
My brother was in that meeting.

4

Looks at the three cops in the group who all look away.

MOVING SHOT.
As the blond moves forward, his P.O.V. he moves quickly into the hall. The T.V. is still showing black & white footage of Hitler.
He scans the room. The men from earlier on are thrown all over the place. All are headless. Wet blood covers the walls and ceiling.

BLOND GIANT
Oh my God.

ANGLE ON TABLE. The silver has gone.

CUT TO:

TITLES

CUT TO:
INT. F.B.I. HQ WASHINGTON. DAY.

We are in the DIRECTOR'S meeting room. The DIRECTOR is sitting at the head of the table. Sitting to his left is MATT DORIN, an agent of the CIA. He's in his mid- fifties, heavy set, dark hair, ugly looking. On the table in front of him is a folder with a video tape sitting on top and the remote control for the monitor that is in the corner.
The door to the room opens and MULDER and SCULLY enter.

DIRECTOR
(standing)
These are agents Fox Mulder and Dana Scully.
(nods at Matt)
This is Matt Dorin. He's with the CIA.

They all eye each other up for a moment.

MATT
(nods at the Director)
May I?

DIRECTOR
Go on.
(he sits)
5
MATT
Please sit.

MULDER and SCULLY sit. MATT stays standing and picks up the remote in his left hand.

MATT
(Coughs)
I take it you both read or heard about the
massacre of a group of Nazis in Chicago two
nights ago?

SCULLY
(nods)
Two fifteen year old kids on crack cocaine burst
into a league meeting of the Aryan brotherhood
and emptied 200 rounds of 9mm into the thirty
members.
(looks at Mulder)
No survivors.

MATT
That's not exactly what happened.

MULDER and SCULLY both look at the DIRECTOR, who looks away.

MATT
We at the CIA keep our eyes on all fanatical
groups within the US; some are harmless and
amusing, others prove to be a real threat.
The Aryan brotherhood we keep a close watch on,
only because they are linked to C18 in Britain and
a German group called Guardians of the Spear.
C18 we have plenty of information on. The Guardians
of the Spear, we know very little about... in fact all
we really know about them is that they are into
Nazi-based occult rituals that demand the shedding
of blood.
(beat)
In the last three months in the Chicago area six girls
have been ritually murdered. All the girls were
Jewish and all had SS carved into their foreheads.
(looks at the Director then back to Mulder)
6 Cont'd

MATT
Because of the close proximity of the meeting hall
of the Aryan brotherhood and these murders, we had
an agent join them.
He was killed two nights ago. He was convinced
one of the members of the group was behind the
murders.
(he leans on the table)
We have a name: Hans Von Roehm, but we don't
know if he was in the meeting two nights ago
or have any other information on him.

MULDER is getting a little agitated. He shifts his position in his chair.

MULDER
So why come to us?

MATT
We had a surveillance camera fitted in the hall.

MATT points the remote at the T.V. and turns it on.

MATT
This will explain.

INSERT T.V. SCREEN. THE VIDEO IS IN BLACK & WHITE.
We see the meeting from the other end of the hall from the door. We see the door burst open and fly into the room, the men rise and start shooting, then a man running forward. The man is picked up by something invisible, his head ripped off and flung away. Then the film ends.

WIDE SHOT.
MATT aims the remote at the T.V. and turns it off.

MATT
That invisible force went on to remove
the heads of twenty eight other men.
The heads are unaccounted for.

MULDER and SCULLY look at each other then at the DIRECTOR, who raises his eyebrows.

7

MATT
Even though the film shows no one.
There was some sort of creature, a giant
that moved with the speed of light.

MULDER
Someone saw it?

MATT Nods

MATT
We have a witness who saw the whole event.

SCULLY
What do you feel we can do?

MATT
Track it down... find out what it is?
(looks at them both)
And find the missing heads. We cannot
identify any of the men.
(shakes his head in despondence)
How can we bury a man without his head?

MULDER
(looks at Scully)
We will do what we can.
(Scully nods )
I will need a copy of the video and access
to the witness.

MATT
Done.
(nods to the Director)
Any thoughts?

MULDER looks at the DIRECTOR then back at MATT.

MULDER
No.
But let me talk to the witness and I will get
back to you.
8

MULDER and SCULLY stand. MATT picks up the folder and video off the desk and hands them to MULDER.

He takes them and leaves the room, followed by SCULLY.

EXT: ROOM

SCULLY
What do you think?

FOX
We get the next plane to Chicago and
talk to the witness.

CUT TO:
INT. SECURE UNIT HOSPITAL ROOM CHICAGO. DAY.

The room has a window with bars across it, a single bed and a desk against the wall. The door is metal, with a peep hole. The room is bright and painted white. IAN SMITH is sitting at the desk writing frantically into a pad. He is twenty three years old, has a shaved head and goatee beard. He is wearing a white short-sleeved shirt and cotton bottoms, hospital issue. Both his arms are covered with tattoos.

F.X. we hear the door lock clicking.

IAN stops writing, turns his pad over and rests his hands on it. Then he stares at the door. The door opens and MULDER and SCULLY enter the room and the door is shut and locked behind them.

MULDER
Hi Ian...I'm Special Agent Fox Mulder
of the FBI and this is my partner Dana
Scully.

IAN stares at them both with pleading eyes.
SCULLY stares back then looks at MULDER, who nods to her.

SCULLY
We need to know what you saw at the meeting.
It will help our investigation and it will help
you to deal with it. We understand....
9
IAN
(Southern drawl)
There ain't nothing wrong with me Mama!
'Cept you secret service people don't want
me telling no one what I saw.

MULDER
And what did you see?

IAN
You get me out of here?

MULDER
If you help us out and there's nothing
wrong with you I will get you out.
I promise.

IAN
Ain't nothing wrong with me, Sir.

MULDER nods.

MULDER
Tell me what you saw.

IAN
I didn't see that much.

SCULLY looks at MULDER and raises her eyebrows.

MULDER
Just what you saw.

IAN says nothing for a moment. He sits staring at nothing, then he nods at MULDER.

IAN
I was coming back from the washroom
when I heard the front door crash in. At
the same time I got a bad feeling and I wanted
to run out of there.
But I didn't... I moved to the door and looked
through the window.
10 Cont'd


IAN
(stops and thinks to himself)
It was like Frankenstein came alive. They shot
at it but all missed, then brave old Billy ran
at it. It picked him up, ripped off his head
and threw him aside like a rag doll. Next thing
I cut and run.
The thing was a monster. That's all I saw. I ain't
crazy. I ain't gone mad.
(looks into Scully's eyes)
I've seen a lot worse than that.

MULDER gives him a probing look.

MULDER
You've seen worse than a man have his
head ripped from his body?

IAN nods and goes into deep thought.

SCULLY
Could you describe the...

IAN
Monster?
No... Just it was big and fast. But it had no
features I can remember.
It had something written on its head.
(taps his own forehead)
That's it.

MULDER walks over to the window and takes a quick glance out.

MULDER
Any reason this monster would attack you?

IAN
I guess we hate a lot of people.
And they return that hate.


11

MULDER
(turns and moves in front of Ian)
Ian. Did your group have anything to do
with the murders of six Jewish girls in
the Chicago area in the past months?

IAN looks away from MULDER. Hold a moment. Then,

IAN
Can you really get me out of here?

MULDER
Only if you level with me Ian.

IAN sits and thinks for a moment. He rubs his face with his hands then puts them behind his head and turns and looks at MULDER.

IAN
Okay.
(he looks at Scully)
The murders are nothing to do with us.
(shifts his position)
But there's this crazy guy call Hans. He joined the group
about six months ago. He's sick man, evil like you
never knew. He brought all this black and white film
of experiments in the prison camps, film no one else
has ever seen. It's the sickest stuff there is.
He's the leader of a group call Guardians of the Spear.
And he's here to kill someone.

SCULLY
You think he killed the girls?

IAN nods.
MULDER
Was he in the building that night?

IAN
He was in and out all night.

SCULLY
What's he look like?
12

IAN
Six two, big, blond cropped hair and blue eyes.

SCULLY and MULDER both stare at IAN and say nothing.

IAN
(quietly)
He's planning to kill some old Rabbi.

MULDER nods then moves to the door quickly and gives two sharp knocks.

MULDER
Ian, we will be back. If you think of anything
else tell the nurse and she will contact me.

The door opens.

IAN
You will get me out?

MULDER nods then he and SCULLY leave the room.

EXT. ROOM
MULDER and SCULLY standing together.

SCULLY
What's up?

MULDER
The video this morning. I saw something
that didn't make any sense.

SCULLY
What?

MULDER
Come on, I'll show you.

CUT TO:

INT. HANS' APPARTMENT. DAY

13

We are in a large room which is lit by four black candles on a table set up like an altar.
The table is draped with a red cloth with a black Swastika on it. On the table are a chalice, an old green bottle and a dagger.

ANGLE ON: Floor.
HANS is lying face down on the floor, naked except for a leather G string and a pair of black boots.
HANS has a large pentagram tattooed on his back with a swastika in it.
He is lying with his arms and legs spread out. In his right hand he holds a cut throat razor. Chalked on the floor is a large pentagram and he is lying inside it.
He is humming gently. As he moves from his laying position on to his knees in the centre of the pentagram, he lifts his arms above his head and looks up.

HANS
Oh spirit of my life.
(he cuts his left wrist open with the razor)
Come give me power and strength.

He lowers his arm and lets the blood drip onto the centre of the pentagram.

Wind rushes through the room and a green, ghost-like shadow appears in the corner of the room.

HANS
(bows)
Master.

CUT TO:

INT. FBI BUILDINGS CHICAGO. DAY.

We see RAY GIBSON in a hi-tech room full of T.V. monitors and computers. He is sitting in front of a large screen looking at a freeze-frame of incidents in the Aryan brotherhood meeting.

MULDER and SCULLY enter the room. RAY looks over.

MULDER
Anything?


13


RAY
There is something there, and it's big. I
can monitor the air and dust displacement.

SCULLY
Can we get an outline?

RAY
No point.

They both move to a position behind RAY.

RAY turns and smiles at them then looks back at the screen..

RAY
This is interesting.
(he taps the screen)
See that?

MULDER bends closer.

MULDER
I see nothing.

RAY taps his keyboard. MULDER leans closer. RAY taps the keyboard again.

MULDER
I see it.

RAY taps the key board again. A word in Florence Green appears across the screen. EMETH

SCULLY and MULDER both look at each other puzzled. RAY turns and smiles at them.

MULDER
What does it mean?

RAY shrugs as SCULLY takes out her note pad and writes the word down.

15

RAY
I've tracked the movement of the word
and it seems to be on the head of the thing.

MULDER
The witness said it had something written
on its head.
(thinks for a moment)
Play me back the whole thing.

RAY hits a few buttons, rewinds it and starts the tape.

MULDER
Stop.
(to Scully)
On the table. What's that.
(Mulder puts his finger on the screen)

RAY enlarges the section with the table top. We clearly see the silver cup, the plate and seven branch candlestick.

MULDER
Why would a group of nazis have
ceremonial Jewish silver?

SCULLY
(wide eyed)
There was no mention of any silver in
the police report.

FOX
Nothing at all.

SCULLY
(nodding)
I read every inch of the report, that would
have stuck out.

The door to the office opens. A young woman agent enters the room.

WOMAN
Agents Scully and Mulder?
16


MULDER
Yes.

WOMAN
You're wanted.
Local police have just found the body
of a 17 year old who has been ritually
murdered and fits your MO.

MULDER
(moving forward)
Thanks.

The woman leaves.

MULDER
Come on .
(to Ray)
Do me a favour?
(Ray nods)
Have someone see if they can find
any information on the silver.

RAY nods then turns back to his work. MULDER and SCULLY both leave the room.

CUT TO:
INT. MORGUE. DAY.

CLOSE SHOT:
Of the dead girl's hand being held by RABBI ZWAKH. He has a file in his other hand and he is scraping skin from under the dead girl's fingernails and carefully putting it in to a small clear bag.

WIDE ANGLE

We see RABBI ZWAKH bent over a trolley with the dead girl on. She is covered by a white sheet. He puts the hand back under the sheet then puts the bag and file away. He then holds his hands out over the body, closes his eyes and prays for a moment. Then he opens them and turns and walks towards the door.
17

The door opens. He stands still. MULDER and SCULLY enter the room with a nurse. They all look at each other.

RABBI ZWAKH
It breaks my heart to see this. A girl
so young and so beautiful.

He shakes his head and walks past them, leaving the room.

SCULLY P.O.V. She watches the RABBI closely as he walks past, and is still looking at him even when the door closes. MULDER and the nurse go over to the dead body.

MOVING.
SCULLY shoots out of the door. She sees the RABBI down the corridor and runs up to him.

SCULLY
(breathless)
Rabbi!

The RABBI stops, then watches as she opens her bag and pulls out her note pad. She shows him the word.

SCULLY
Rabbi.

RABBI
Yes my child.

He stares at the word.

SCULLY
Do you know what this says?

RABBI
Truth.

As he says the word SCULLY bows her head as if in reverence and keeps her eyes downwards.The RABBI walks away. Hold on SCULLY a moment. Then she lifts her head and looks down the corridor. The RABBI has gone. SCULLY turns and moves off to join MULDER.
18

INT. MORGUE.

MULDER is covering the body back up. He has a look of disgust on his face.
SCULLY enters the room. She has vacant look about her.
MULDER looks at her.

MULDER
What's up.

SCULLY
Nothing.

MULDER
For the time being forget the monster,
we need to catch the sick animal who's done
this.

CUT TO:
EXT: SYNAGOGUE. DAY.

CUT TO:
INT: SYNAGOGUE. DAY.

We are in a round room with no windows or door. It has only a small table against the wall. Four large candles light the room. In the floor is a trap door in the shape of the star of David.

The trap door opens and RABBI ZWAKH enters the room, shutting the door behind him. He walks over to the table, takes a pack of tarot cards from his pocket and flips over the first one. It's the hang man. He puts the rest of the cards away then he takes a lump of chalk from his pocket and draws a star of David on the wall.
He moves back to the table, leans under it and pulls an old book from the darkness and puts it on the table, opens it and looks at the page. There is nothing written on it. It's blank.
He leans under the table again and this time pulls out a small lump of red clay, which he places on the book. He then takes out the small file from his pocket, leans over the clay and writes in it with the file. EMETH. Then he takes out the small see-through bag and tips the contents on to the clay.

He then steps into the middle of the star of David, lifts his hands above his head and starts to mumble incomprehensible words.
19

CUT TO:

INT. HOSPITAL. IAN'S ROOM. DAY.

MULDER and SCULLY are both standing just inside the door.

IAN
I don't know where he lives.

MULDER
Okay.
Tell us what you know about The Guardians
of the Spear.

IAN
Not a lot.
They are into occult magic. Magic that
requires the shedding of blood. Hans
says they guard the spear that was
stabbed into Jesus's side when he hung
on the cross. They guard it waiting for
his return.

MULDER smiles and looks at SCULLY.

MULDER
Who's...Hitler's?

IAN glances downwards.
IAN
(scared)
No.

SCULLY
Who then?

IAN
(quietly)
Satan's.

SCULLY
And you believe that.
20

IAN
(defensive)
You ain't seen what I've seen.
Hans is not of this world. He can't be.

SCULLY and MULDER exchange glances.

MULDER
What are you saying Ian?

IAN
He has pictures of himself standing next
to Kaiser Wilhelm and he's in films with Hitler.
He's the one doing the experiments in the
camps.
He never ages.
One night he gave us a speech about how he
had been on a mission for 2000 years and it's
coming to an end. Only the person he's after
is still too strong and he would have to shed blood.

SCULLY
Shed blood?

IAN nods.

SCULLY
Why?

IAN looks away and thinks, then he looks back.

IAN
This sounds crazy but he said he has to
kill twelve virgins.
One from each of the twelve tribes of Israel.
Only then will he have power over his enemy.

MULDER
Who is his enemy Ian?

IAN shrugs.

21

MULDER
He said nothing about the person he's been
after for so long?.

IAN
He said plenty, but no name.

MULDER
Tell me what he said.

IAN licks his lips.
IAN
Can I get a coke?

MULDER
(quickly glances at Scully)
In a minute. What did he say?

IAN
He calls him the wandering Jew. The little old
man.
Hans is really scared of him. Says he has the
power.
(looks into Scully's eyes)
That he was the keeper of the Truth. And that's
why he had to die.

SCULLY freezes and stares at IAN. Hold for a moment. Then she quickly moves to the door and knocks twice.

SCULLY
Come on Mulder.

The door opens.

MULDER
(to Ian)
We will be back.

SCULLY and MULDER leave the room.

EXT. ROOM.
22

MULDER
What is it?

SCULLY
The Rabbi at the morgue. The one I
chased after. I asked him what EMETH
meant.

MULDER
Yes?

SCULLY
He said "truth".
But as he said it an unfamiliar voice in
my head said. "Here stands the keeper of
the truth". And I wanted to kneel. I don't
know why. He seemed God-like.

MULDER
The wandering Jew?

SCULLY
Who is he?

MULDER
I don't know. Let's go find out.

CUT TO:

INT. SYNAGOGUE. DAY.

RABBI ZWAKH and AARON are walking towards the door. The RABBI has a small black case in his hand. They move slowly up to the door.

RABBI ZWAKH
I must go.
(puts his hand on Aaron's shoulder)
You will join me later.

They walk a few more paces in silence.


23

RABBI
Remove the letter from the head just
like last time.
(looks at Aaron)

AARON
Yes Rabbi.

They reach the door and stop. The RABBI looks into AARON'S eyes.

RABBI
Things will be fine after today. No more
wandering.

AARON nods and the RABBI turns and walks through the door. AARON watches him go.

CUT TO:

INT. HANS' APARTMENT. DAY.

The room is lit by a few candles.
HANS stands by the altar pouring the substance from the bottle into the chalice. He lifts the chalice and starts to drink from it.

F.X. the sound of the door in the other room crashing in.

HANS freezes and listens. He can hear something moving towards the room. He puts the chalice down and moves quickly to the corner of the room and out
from the shadows he pulls a long broadsword. He takes hold of it with both hands and lifts it above his head, slowly moves to the side of the door and
stands with his back against the wall next to it. He eyes the door. All is silent for a moment. Then the door bursts off its frame and shoots into the room. HANS stands motionless with the sword held high.

A figure appears in the doorway, filling the frame. The GOLEM is six foot six,
dressed in black. It has a smooth face with a yellow complexion, mongoloid features and jet black eyes. The word EMETH is written on its forehead.

It steps into the room.


24

As it does so, HANS swings the sword with all his might at its neck. The GOLEM catches the sword blade in its right hand just in front of its throat. Hold a moment. Then, very slowly, the GOLEM turns its head to its left and stares into HANS' face. A face now filled with fear.
With a quick flick the GOLEM snaps the sword in two, keeping hold of the broken end in his hand. He grabs hold of HANS' scull with his left hand, lifts
HANS off the ground and at the same time swings the broken piece of sword and cuts HANS' head off. HANS' body falls to the floor.
The GOLEM drops the sword end and leaves the room with the head.

CUT TO:
INT. CAR. DAY.

MULDER is driving and SCULLY is in the passenger seat. They pull up to a set of large iron gates.

SCULLY
Who is he?

The gates open and they drive in.

MULDER
He's a novelist and the leading authority on
the Cabala and Jewish folklore.

SCULLY looks out of the window and thinks as the car stops outside the house. MULDER turns the car off and they both get out and walk over to the front door in silence.
As they reach the door it opens unaided. They both stop on the threshold and peer in. Hold a moment. Then they walk in. The hall is large and filled with paintings. Both are looking at them as they enter.


V.O. GUSTAR
(an old voice)
Welcome!

MULDER and SCULLY both move over to a door on their right and look in.

Through an open door we see GUSTAR MINKS. He looks ancient. He is sitting behind a large desk and has a pen in his hand. He is writing.MULDER and SCULLY exchange glances and move across the threshold into the room.
25

MULDER
I'm Special Agent...

GUSTAR
(still writing)
I know who you are.
(looks up)
How can I help you both.

SCULLY is eyeing the walls, which are covered with old masters.

MULDER
(moving forward)
I understand you know about Cabalism?

GUSTAR
(nods and smiles with his eyes)
Why...?
(stares at Scully)
Would the FBI be interested in the secret
things of The Book?

SCULLY
A case...
(Scully dries up)
We are working on.

GUSTAR nods and smiles a sly teasing smile at SCULLY, and stares into her very being. SCULLY looks at MULDER.

MULDER
Sir.
Who is the Wandering Jew?

GUSTAR looks away from SCULLY and sighs. He thinks to himself for a moment. Then,

GUSTAR
The wandering Jew.
(looks Scully up and down as if she is naked)
You have Daniel's blood in you; I can almost taste it.
(Scully swallows)
26 Cont'd

GUSTAR
The wandering Jew.
(GUSTAR licks his lips slowly)
When that man who claimed to be the Messiah
was on his way to the place of the Skull,
(looks from Scully to Mulder)
a young Jewish boy cursed him and spat
in his face.
(beat)
In return, Jesus cursed him to wander the
earth until he was to come again in Glory.
That's the legend of the wandering Jew.

MULDER nods and glances at SCULLY questioningly.

GUSTAR
Your phone.
(points his pen at Mulder)
Turn it on.

MULDER takes the phone from his pocket and turns it on. It starts to ring. He answers it.

MULDER
Agent Mulder.
(listens for quite a while)
I will be there in thirty minutes.

MULDER puts his phone away.

GUSTAR
You may leave.

SCULLY and MULDER both turn and walk towards the door. As they get to the door:

GUSTAR
Agent Scully.

They both stop and turn to face GUSTAR.


27

GUSTAR
Is there not something... you have to ask
of me?

SCULLY nods then kooks quickly at Mulder and back to him.

GUSTAR
(to Mulder)
Leave us Fox.
My chauffeur will drop her off where
you're going.

No one says a thing for a moment. Then MULDER looks at SCULLY who nods at him.

GUSTAR
She is safe with me.
Go.

MULDER nods and leaves the room.

GUSTAR
Come, sit.

He motions to the chair.

F.X. the front door closing behind MULDER. SCULLY glances towards the sound of the door. Then she moves over to the desk, pulls the chair out and sits.

GUSTAR
We have plenty of time. Would you
like a coffee?

SCULLY
No thanks.

GUSTAR
Something a little stronger maybe?

SCULLY shakes her head and reaches inside her bag. She pulls the pad out and hand it over to GUSTAR.
He takes it.
28

SCULLY
Do you know what the word means?

GUSTAR looks at the pad and reads the word. He looks up sharply at SCULLY, then he reads the word again. He sits and thinks for a moment. Then:

GUSTAR
Where did you come across this name?

SCULLY stares at him for a moment, then:

SCULLY
We believe it could be tattooed on the
head of a murderer we are tracking.

GUSTAR nods then goes into a trance for a moment.

GUSTAR
Tell me the events of the past two days.

He leans back in his chair and eyes SCULLY up.

GUSTAR
Miss nothing out.
(beat)
Or the truth you now seek will turn into
your death.

CUT TO:

INT. FBI BUILDING, CHICAGO. DUSK.

RAY is sitting at his desk still looking at the film of the invisible GOLEM.
The door to his office opens and an agent comes in carrying some photos.

RAY
What you got?

AGENT
(moving up to Ray's desk)
Got a match.
That same silver was reported stolen from
29 Cont'd

AGENT
a synagogue out on North 58 three months ago.
(throws the photos on the desk)
Only it was all returned after two days.
But it's the same. The cup is unique, the only
one of its kind.
It has a Babylonian stamp on it but it once
belonged to King Solomon.
(smiles)
It's priceless.

RAY is mystified.

RAY
Priceless.

AGENT
Read the police report.

RAY
I might just do that.
(Ray looks at the photos on the desk)
Thanks.

The agent smiles, turns and leaves the room. RAY studies the two photos; one is a police photo the other is taken from the video. The cup is the same one in both.

CUT TO:
INT. HANS' APARTMENT. NIGHT.
A policeman is guarding the door. Inside are two detectives and a female forensic scientist.
MULDER appears at the door. He shows his badge to the policeman on guard, who studies it, looks at MULDER then back at the badge, and then moves to one side.
MULDER moves through the apartment into the rear room. The room's light is on. The two detectives are searching through a large chest in the corner which is filled with books and videos and 8mm film. The forensic woman is at the altar, bending over it to look at the broken end of the sword. They all stop and look at MULDER as he enters.


30

MULDER
Agent Mulder FBI

MULDER looks down at the headless corpse. Instead of the young fit body of HANS we see an old wrinkled tattooed body. MULDER looks at the two detectives.

MULDER
No head?

DETECTIVE
No, nothing to I.D. the body. But I guess he
was German.

The detective reaches into the chest and pulls out an IRON CROSS medal on a red ribbon.

DETECTIVE
All these books are written in German as well.

MULDER nods and looks at the forensic woman. She nods for him to come close.

WOMAN
This is the piece of sword used to remove
the head. Look right at the tip.

MULDER leans close. His P.O.V. there is a four inch smear of red clay.

WOMAN
Some sort of red clay.

MULDER nods than picks the green bottle up very carefully by its top.

WOMAN
Blood.

He puts the bottle down and scans the room.

MULDER
Thanks.

31

He nods at the two detectives and leaves the room.

CUT TO:
INT. GUSTAR'S HOUSE. OFFICE. NIGHT.

Scully is sitting across from GUSTAR. She is more relaxed now.

GUSTAR
(excited)
Tell me how you felt again.

SCULLY
I felt like I was in the presence of
a holy man. I felt like I should have
knelt before him.

GUSTAR nods and rubs his hands together. SCULLY averts her eyes from his.

GUSTAR
Cabalism is literary occultism par
excellence.
(he leans across the table)
We use words to create, to heal, to hide.
Forgotten words.
Just as God spoke our world into existence
from nothing. We do the same.
You have the power within you to do the same. If
you only knew the right words.

SCULLY
In the beginning was the word.

GUSTAR nods.

GUSTAR
Now as for this word.
EMATH... it means Truth. But with truth
comes pain.
As you well know.
(Scully nods)
The creature you seek is a... Golem.
(beat)
32 Cont'd

GUSTAR
It has the word Emeth written on its
forehead. It gives it life.
Remove the E from the word and you have
METH which means death.
If you should ever meet a Golem...which
is most unlikely, you must rub the E from
the word and death will come and the Golem
will leave you.
(Scully is still nodding her head)
To close this case you need Rabbi Zwakh.
You will find him in the Synagogue on North
58 street.

GUSTAR sits silent for a moment staring at SCULLY. Then,

GUSTAR
My car is waiting at the door. You must go
now.

GUSTAR smiles and returns to his writing.

SCULLY
(standing)
Is the Golem real?

GUSTAR
(still writing)
I have never seen one in my lifetime.

SCULLY turns and walks away. GUSTAR looks up, smiles as he watches her leave the room, then he gets up and moves to the window.

CUT TO:

INT. FBI BUILDING CHICAGO. NIGHT.

MULDER enters RAY'S office. RAY is sitting at his desk drinking a coffee and eating a doughnut while reading a page of writing on his computer screen. He looks over at MULDER.


33

RAY
I have been trying to get hold of
you.

MULDER moves over to him and looks at the doughnut on the table.

MULDER
Do you mind?
(points at the doughnut)

RAY
It's yours.

MULDER picks it up and starts to eat it.

RAY
That silver. It's quite unique. The cup is the
only one left of its kind.

MULDER
That's good.

RAY
(nods at he screen)
It used to belong to King Solomon.

MULDER nods and finishes chewing the doughnut.

RAY
You will find it in a Synagogue on North 58 street.

MULDER comes alive.

MULDER
(alert)
That's great news. North 58 street. If Scully
comes back let her know where I am.

RAY
Sure.

MULDER turns and quickly leaves the room.
34

CUT TO:

INT. SYNAGOGUE. NIGHT.

We see the GOLEM enter the Synagogue and walk towards the back.

CUT TO:

A room in the rear of the Synagogue.
We see AARON lying fully dressed on a bed in deep sleep.


CUT TO:

INT. TOWER ROOM. SYNAGOGUE.

We see the trap door open and the GOLEM climb into the room. It shuts the trap door and moves over to the wall and stands still. HOLD a moment Then: It slowly looks to its left then to its right. Then it starts to walk around the room.

CUT TO:

EXT: EMPTY STREET. NIGHT.

We see the car with SULLY sitting in the rear turning on to North 58 Street.

CUT TO:

INT. TOWER ROOM. NIGHT.

The GOLEM stops still, looks from left to right then looks down at the trap door. It stares at the trap door and the door opens on its own. The GOLEM moves over to it and out of the tower room.

CUT TO:

EXT. SYNAGOGUE. NIGHT.

We see the car with SCULLY in pull up and stop by the Synagogue. The back door opens and SCULLY climbs out. She slams the door shut.

35

The car drives off and she slowly moves over to the door. It's open. She peers inside, goes to move in then stops. She looks to her right and thinks at the same time. She takes her gun from its holster then moves off to check around the back of the Synagogue first.

CUT TO:

INT. MULDER DRIVING A CAR. NIGHT.

MULDER is driving along listening to the ringing tone of SCULLY'S mobile as he tries to contact her. MULDER turns on to North 58 Street.

CUT TO:

EXT. SYNAGOGUE. NIGHT.

SCULLY has been around the Synagogue and is approaching the door again, slowly. When she is some ten feet away the GOLEM comes out of the doorway and sees her.
She sees it and freezes. At the same time, MULDER skids to a halt some twenty feet away. The GOLEM sniffs and moves its head gently towards SCULLY and sniffs again, then it glances sideways at MULDER in his stopping car.

Then the GOLEM very quickly moves forward, grabs SCULLY and retreats into the Synagogue with the door shutting and locking behind it.

ANGLE ON:
MULDER jumping from his car and taking his gun out.

MULDER
(shouting)
Scully.

He runs forward with his gun in both hands held to his chest. He gets to the door, stops to one side of it. Slowly he leans over and tries the handle.
It's locked.

He quickly steps in front of it and kicks it hard by the lock. It bursts open and he goes into the Synagogue.

MOVING SHOT.
36

MULDER quickly moves around and through the Synagogue and in to AARON'S room at the rear. He sees AARON sleeping and moves over to him very slowly, holding his gun so the barrel is an inch away from AARON'S forehead. He then takes out his badge and holds it next to his gun.

MULDER
(loud)
Wake up.

AARON'S eyes shoot open. He sees the gun and sinks into the bed a bit.

MULDER
I'm special agent Mulder of the
FBI.

AARON lies still. His eyes are filled with fear and confusion.

MULDER
That thing has just snatched my partner.
(rests the barrel of the gun against Aaron's forehead)
Now you take me to it or you die.
(puts pressure on the gun)
Understand?

AARON nods.

AARON
(scared)
It's all my fault, Come, I'm sorry.
Come with me.

MULDER puts his badge away. AARON gets up and he follows him out of the room.

CUT TO:

INT. TOWER ROOM.

SCULLY is lying across the table out cold. The GOLEM stands over her stroking her forehead gently. Then it starts to touch her face gently. It sniffs and leans closer to her. It sniffs again and moves its head so its nose is resting on

37

SCULLY'S cheek. It then sniffs very slowly and deeply, holds it for a moment. Then we see MULDER come through the trap door, gun held in front of him.

MULDER
(shouting)
Get away from her.
Get away.

The GOLEM lifts itself upright and stares at MULDER.

MULDER
(moving backwards)
Get away from her.

The GOLEM looks at the open trap door. It slams shut.
MULDER looks at the closed door then at the GOLEM. The GOLEM stares at MULDER. MULDER steps back, bumps into the wall behind him and stops.

The GOLEM steps forward. MULDER empties all the bullets from his gun into the GOLEM'S head. The bullets enter the head and the skin heals over them. Like a flash, the GOLEM crosses the room, grabs MULDER by the chest and bangs him against the wall three times. MULDER cries out as he hits the wall. All the air is forced from his lungs. He drops his gun and his body goes limp.
The GOLEM lifts MULDER up so their heads are level. MULDER'S head is hanging loose; his eyes are open and he stares into the GOLEM'S eyes. The GOLEM stares back for a moment. Then, the GOLEM takes hold of the side of MULDER'S head with his free hand.....and tenses a little.

CLOSE SHOT:
MULDER'S P.O.V. he is looking at the GOLEM'S face: it looks like his own.
Then he looks at the GOLEM'S forehead and sees the words EMETH.
Then a hand passes in front of his face and wipes the E away from the GOLEM'S head .
MULDER falls to the floor.

WIDE SHOT:

We see MULDER on the floor shaking his head. SCULLY sits up on the table and look over to the GOLEM.
Standing next to the immobilised GOLEM is GUSTAR. He walks around the GOLEM as MULDER gets off the floor and SCULLY moves off the table.

38

MULDER moves over to SCULLY. Blood is running from his nose and ears. he is hurt.

MULDER
(in pain)
You okay?

SCULLY nods and looks at him. Then she looks around him at the GOLEM. He also turns to face it.

GUSTAR
I had to see it. You understand that?

No one replies. They all stare at the GOLEM and the GOLEM begins to shrink and shrink until all that is left is a small lump of red clay on the floor.

SCULLY and MULDER move forward until they are standing next to GUSTAR and above the clay. They all look at each other. Then GUSTAR bends down and picks up MULDER'S gun, passing it back to MULDER.

GUSTAR
It's over.
(Mulder moves his lips to talk)
The missing heads have been return.
What happened to the Aryan brotherhood
was a terrible mistake.
We must leave this place and never
remember that this happened.
(he waves them both to the trapdoor)
Come.

SCULLY moves down through the trap door followed by MULDER. When they have gone, GUSTAR leans over and picks the red clay up and puts it in his pocket. He then quickly moves over to the table and feels underneath it but finds nothing. He then leaves the room shutting the trap door behind him. It all goes dark.

CUT TO:
EXT. WASHINGTON. DAY.

We see a Synagogue. A black car pulls up outside it. The door opens and we see RABBI ZWAKH get out. He has two small bags, one in each hand.
39

His P.O.V. he looks at the walls. They are clean.
WIDE SHOT: We see the car drive off and RABBI ZWAKH walk towards the Synagogue door. He has a new bounce in his stride.

CUT TO:
INT. PLANE. DAY.

We see MULDER and SCULLY sitting next to each other.
MULDER is asleep.
SCULLY has a laptop computer in front of her. She is staring at MULDER. Hold for a moment. Then she starts to tap on the key board.

SCULLY V.O.
Mulder and I returned to the Synagogue
the day after the encounter. We searched
but we could not find the room or Rabbi Zwakh.
It seems no one knows where he came from
or has gone to.
Gustar Minks' house burnt to the ground that
night and he has vanished without trace.
Mythology states that the Golem first appeared
in the twelfth century to do all the work
in the Synagogue on the Sabbath, as it was
against the law for the rabbi to do anything.
It was spoken into existence by the Cabbalist.
Hans Von Rohen is unknown. He was a man
without a background.
Ian Smith has been released from hospital,
given a new name and a new life in Canada
by the CIA.
(looks at Mulder)
Mulder was shaken up by the Golem. He said
when he stared into its face he saw himself.
(looks back at the desk top)
The heads were returned so the CIA are happy.
When I sat in his office, GUSTAR said
"Magic is the mystery that holds the fibres
of the world together and cannot be tampered
with lightly". I believe he's right.
(looks up)
File Closed.
THE ENDN