Season 2

2x13 Irresistible

Air date: 1/13/1995
Writer: Chris Carter
Director: David Nutter
Editor: Stephen Mark
Director of Photography: John S. Bartley, C.S.C.
Documented Phenomenon: Sociopathic Fetishist, Demon

Episode summary / Points to consider / Production analysis

At a funeral, the camera pans over a young woman giving a eulogy for her friend, Jennifer, and then over to the open casket. Jennifer is young with long, blonde hair. She is surrounded by wreaths and flowers. The camera then pans out to a full church with people crying in the pews.

One by one, people approach the casket to pay their final respects, ending with Jennifer’s family. A short distance away, a mortuary employee looks on. The mortuary director informs the employee that the family has requested a graveside service for the following day, and that they will keep the body overnight. The employee looks pleased by this, smiling slightly. He walks over to the casket and stares at Jennifer, commenting that she is a beautiful girl. He runs a hand over her hair, feeling her curls between his fingers. He sighs in pleasure and then closes the lid.

The mortuary director comes into work at night. Hearing strange noises, he asks if anyone is there. A dark figure slowly stands up and comes out from behind Jennifer’s casket. Panicked, the funeral home director turns on the lights, and we see that the dark figure is the employee from earlier. We learn his name is Donnie. The funeral home director seems relieved but then angrily asks Donnie what he is doing there so late. Donnie says that he’s working, but the director isn’t convinced. He notices scissors in Donnie’s hands, and then he sees pieces of blonde hair on the floor. The director opens the casket and sees that Donnie has moved the corpse and cut her hair. He calls Donnie a freak and tells him to get out and not to come back. Donnie gives the man a hateful look and reluctantly leaves. As Donnie walks out, the director says that he should report him, but instead he just yells again for Donnie to leave.

It is daytime. Mulder, Scully and Moe Bocks, an FBI field agent who is investigating the exhumation and desecration of a body, are walking through a cemetery in Minneapolis. As they reach the crime scene, an open grave, Bocks says that in 22 years he’s never seen anything like it. Upon seeing the corpse, he called his local mutual UFO network. MUFON suggested that Bocks call Mulder, but Mulder doesn’t understand why Bocks would call MUFON in the first place. Bocks says that he wanted to see if there had been any UFO activity in the area. While Bocks and Mulder talk, Scully looks into the open grave with a disturbed look on her face. Bocks continues to argue that the corpse fits an alien abduction scenario because the hair and nails have been removed, much like mutilated cattle thought to be experimented on by aliens. Mulder looks at the name on the tombstone and we learn that the victim is Catherine Ann Terle who lived from 1978 to 1994. Mulder tells Bocks that it doesn’t look like the work of aliens and that he’s seen things like this before when he worked in violent crimes. Scully looks away from the corpse, disgusted by what she sees. Mulder says that whoever dug up the grave probably used a backhoe, and that if Bocks takes a cast of the surrounding ground, he will probably find fresh tracks leading to a garage nearby. Surprised, Bocks asks Mulder, “You think?” Mulder explains that the suspect may work at the cemetery, but not likely. He has probably worked at a cemetery or mortuary at one time and has probably been busted even if no record exists, because reporting such an incident would be bad for business. Even more surprised, Bocks infers that Mulder is saying a human is responsible for the crime. Mulder replies, “If you want to call him that.”

Mulder catches up to Scully, who has walked away from the scene, and asks if she is okay. She says that she’s read about cases of grave desecration before but that this is the first time she’s seen it for herself. Mulder assures her that nothing can prepare anyone for seeing it and that it’s almost unimaginable. Scully asks why they do it. Mulder replies that some people collect salt and pepper shakers while death fetishists collect fingernails and hair. While he says that no one really knows why, he jokes that he’s never understood salt and pepper shakers himself. He opens the car door for Scully. Before getting in, she tells Mulder that sometimes he surprises her. When Mulder asks why, she says that he wasn’t shocked by the body they saw. Mulder explains that he prepared himself for it before they left Washington. Once they are both in the car, Scully seems confused that Mulder knew the case wasn’t UFO related. Mulder admits that is true. Scully inquires why they then drove three hours without a plane ride home until the next day. Mulder pulls out two tickets and says, “Vikings versus Redskins, Scully. Forty-yard line in the Hubert H. Humphrey Metrodome. You and me.” Scully stares at him, flabbergasted.

Donnie is interviewing for a job at Ficicello Frozen Foods. We learn that his last name is Pfaster when the interviewer, a woman, asks him if he’s lived in the Twin Cities area long. Donnie replies that he grew up in the area but was away for a few years. When the woman asks him what kind of work he was in before, Donnie says cosmetology and then clarifies, hair and makeup. Donnie flatters the woman by complimenting her lipstick and calling it by name, Indian Summer. We learn he’s applying to be a food delivery man, he says to put himself through school studying comparative religions. The interviewer tells Donnie that the boss prides himself on religious employees, based on the assumption that they are more honest. Charming her further, Donnie asks if she can include that he’s religious on the application. She winks at him and says she’ll attach a note.

Bocks watches the Vikings/Redskins game as Scully and Mulder walk into the Minneapolis field office. He says he’s sorry the agents had to miss the game but they found more exhumed bodies. Scully asks for the forensics report, and Bocks hands her the file as he talks over the gruesome details with Mulder. We learn there have been three bodies in the last two days and that the hair was cut from two bodies and the third had her fingernails ripped out with needle-nose pliers. Scully looks at photos of everything being described. Seeing herself as the victim in one of the photos, she is suddenly overcome. She closes the file and walks out of the office. Mulder has Bocks draft a for-law-enforcement-only memo that the Twin Cities area has an escalating death fetishist on their hands, that security should be tightened around cemeteries, mortuaries, and funeral homes, and that hospitals should be notified. Mulder says the story to the press should be that there is a stalker in the area. Bocks is hesitant to alarm people over someone who only preys on the dead, but Mulder insists that the suspect’s compulsion is growing and that he may resort to homicide to procure his corpses, and that once he has a warm body, he’ll want more. Bocks compares this case to a previous one with a serial killer and conjectures that it took so long to catch “that kid in Milwaukee”+ because no one could believe it would happen in a place where people still leave their doors unlocked. Mulder says that people can still feel safe if they catch their suspect fast enough, but Bocks worries they don’t have the manpower. Mulder looks at the T.V. as the Vikings score a touchdown.

Scully sits outside the office, and Mulder informs her that he’s canceling their flight out so they can assist with the investigation. When she doesn’t answer, he says, “Scully?” She says that she’ll be right there.

Scully begins typing a report, musing that a complete model of a death fetishist doesn’t exist, but it stems from a deviation of values and cultural norms and mores. She learns the suspect is likely to be white and of normal or above-average intelligence. The progression of the pathology ranges from fantasy to acting out fetishistic impulses, including homicide. She notes that the fetishist’s deeper motives are ones even law enforcement officers dare not imagine because it is somehow easier to believe, as Agent Bocks does, in aliens and UFOs than in the kind of inhuman monster who could prey on the living to scavenge the dead.

At nighttime, we see hookers lined up on the street and drivers pulling over to proposition them. Donnie Pfaster pulls up and awkwardly starts a conversation with a blonde. She wants him to pull around the corner, but he insists that he needs a couple of hours and takes her to his apartment. Once inside, the hooker complains that she is cold, and Donnie says he wants to draw her a bath. She looks uneasy but follows him to the bathroom. He asks her if her hair is treated, and she seems perplexed that he wants to shampoo her hair. Donnie says he’ll pay extra, and she begins undressing. He focuses on her red fingernails as she unties her boots. Donnie leaves to answer the phone, where he learns that he received the job. The hooker comes out of the bathroom wearing a towel, complaining that the water in the tub is ice cold. She is frightened to see sympathy wreaths littering the room. She calls him a sick freak and forbids him from touching her. He stalks toward her, and she backs away, but as the scene changes, she screams.

Police cars light up another crime scene. Bocks tells Mulder and Scully they’re waiting for someone to ID the body of a working girl. Scully looks sympathetic. Another hooker is escorted by a police officer to identify the body, and she recoils when she sees it, asking who did such a thing to her. Bocks tells Mulder that the killer took the hair and fingernails, this time along with some fingers. Bocks and Mulder move forward to take a closer look at the body, but Scully stays behind. When Mulder turns around to see why she’s not behind him, she says she needs a minute, which surprises Mulder.

It is daytime, and Donnie Pfaster is delivering food to a family in the suburbs. The mother of the family welcomes him into the house and begins conversing with him, introducing him to one of her three daughters.  Donnie asks to use the bathroom and searches the trash for hair, which he holds to his face and sniffs. The mother tells him that if they are ever not home, they always leave the back door open. Donnie says he’ll remember that.

Scully performs the autopsy of the hooker musing that every body has a story to tell, that there is always a cause of death to be reconstructed, and that an autopsy can even discover motive and the circumstances under which death occurred. Scully concludes that the victim died a wrongful death for the sole purpose of extracting her hair and fingernails. The time of death is difficult to calculate because the body has been submerged in cold water. Scully writes that outside of child murder, this is one of the most dehumanizing murders imaginable.

Mulder and Bocks show a lineup to the hooker who identified the body, but she can’t identify any of them as the suspect. She says he was ordinary, didn’t look like a freak, and drove a white car. The hooker seems worried that they won’t catch him, and after she leaves, Bocks agrees that without a record he’ll be hard to find. Bocks thinks the fetishist “can’t make it with women,” but Mulder says that the hooker was convenient, a young attractive woman like all the other victims. Mulder says the hair and nails suggest it isn’t enough that the woman is dead but that he also has to defile them, indicating an unfathomable hatred of women, probably going back to his mother. Mulder recommends calling psychiatric wards to check for anyone with similar pathologies. He notes that monsters aren’t made overnight and that this fetish has been developing for years.

Donnie Pfaster sits in class, listening to a lecture on taboo societal behavior and staring at an attractive blonde classmate. After class, in the parking lot, he follows her to her car, introducing himself and making her uneasy. Inching closer, he asks her what chapters they were supposed to read for homework. She tells him, but he doesn’t leave. Instead, he puts his hand on her car door. When he refuses to let go, she hits him and runs away, calling for help.

Scully has a nightmare about herself lying on an autopsy table while the devil watches over her. She is awoken by the phone ringing. Mulder tells her they may have arrested the guy they’ve been looking for.

At the prison, Bocks tells Mulder and Scully that a woman hurt the suspect in the process of defending herself. Though Bocks says this is definitely their guy, the man in the cell they look into is not Donnie Pfaster but some man we’ve never seen before. It was a working girl who hit him, not a college student. As Scully stares at the man they believe is the death fetishist, Donnie Pfaster stares at her from a cell across the aisle. No one has taken notice of Donnie.

Later, after questioning the suspect, the agents realize he wasn’t the right guy. They are back at square one. Before leaving, Scully stares at Donnie, who is making her uneasy. She tells Mulder she will take the body back to Washington, and Mulder asks her to tell him if she’s having trouble with the case. Scully denies it, even when Mulder says he’d understand. She insists that she only wants to go to D.C. to get a fingerprint so they have something to go on. Mulder tells Scully he doesn’t want her to have to hide anything from him, and that agents with 20 years’ experience fall apart on cases like this. She says she’s fine and that she can handle it.

Donnie uses his charm again and asks the guy in the cell across from him about the FBI agents. He learns that they are really after him, and he asks for the agents’ names. The other guy only remembers Scully. Donnie is released when the student drops charges against him. He only needs to talk to a psychiatric worker before he goes.

In D.C., Scully searches for a latent fingerprint and thinks about canceling her flight back to Minneapolis. After some deliberation, she decides to talk to a bureau counselor about her trouble dealing with the case. The therapist notes that Scully has been referring to herself in the second person as a way of detaching herself. The therapist says that Scully is strong but feels vulnerable now, and she asks Scully if it is because of her partner. Scully denies that, saying she trusts Mulder with her life. Yet she can’t talk to him about how much the case bothers her. Scully realizes she doesn’t want Mulder to feel like he has to protect her. The therapist reminds her of the loss of her father and of her recent near-death experience. Scully states that she is aware the world is full of monsters, and that it’s her job to protect people from them. Still, this case is causing her to lose her faith in her ability to do her job++, and she says she needs that faith back.

We learn the lab has found a latent print from the hooker’s nail polish. The lab technician tells Scully she received a call when she was in her meeting, but he can’t provide a name for who called her. The technician informed whoever was on the phone of Scully’s flight back. Scully calls Mulder to inform him and Bocks of the print and that she’s coming back that night. They talk one more time about the horrific case, but she says she can handle it. Finally she asks if Mulder or Bocks called for her, but neither did.

Based on the print Scully found, the FBI storms Donnie’s residence, but he isn’t there. They do, however, find human hair and frozen fingers. Finally knowing his name, they put out an APB on Donnie Pfaster, age 28.

We see Donnie waiting for Scully to leave the rental car agency. Scully, driving from the Minneapolis airport, is run off the road by his white car.

Mulder and Bocks worry about Scully, whose plane landed three hours ago. Another agent comes in, informing them that they found Scully’s car. Mulder rushes to the scene and has the paint analyzed to get a make and model of the car. “We’re going to find her,” he says.

We see Donnie Pfaster in a dark house. He pours a bath and then opens a closet, where he’s keeping Scully bound and gagged. Scully sees the devil where Donnie should be.

Bocks and Mulder hit a dead end with the car paint. Mulder is frustrated that no one saw a pretty woman forced off the road. They wonder where Donnie might have taken her, and they try to get in his head. Bocks says, based on Mulder’s profile, Donnie would take Scully anywhere but his mother’s house. This sparks the idea in Mulder that maybe that’s exactly where he would take her. They find out where Donnie’s mother used to live in Florida before she died. They learn Donnie is using her car. Donnie’s mother has another house in Minneapolis that is now for sale. This is where Pfaster has Scully.

Donnie touches Scully’s hair and tells her not to be afraid, but she sees him shape shift into the devil again. He forces her into the bathroom and asks about her hair. Still bound and gagged, she knocks him into the tub and flees. He chases her through the house with a gun, and Scully can’t get out because the doors are locked. She hides, but he says that he knows the house and will find her. He opens another closet, where Scully sprays him with a cleaning product. She runs, but he catches her and they tumble down the stairs. They grapple for the gun just as Mulder and a team of agents burst through the door. The agents cuff Donnie while Mulder helps untie Scully and calls for paramedics. She gets to her feet and glares at Donnie as he is taken away. Scully asks how Mulder found her, and he tells her. Mulder asks Scully if she wants to sit down, and with some annoyance, she says she’s fine. Mulder gently lifts her chin, and forces her to look him in the eye. When she does, she tries to force back tears but starts crying. She hugs Mulder. He wraps his arms around her, caresses her hair, and presses her tight against him so that his face is resting on her head.

As we see family portraits of Donnie growing up, culminating in a shot of him in jail, we hear Mulder’s voice describe the unremarkableness of Donnie Pfaster, and the eeriness that someone so ordinary could grow up to be the devil. Mulder concludes that our primitive fear of violent death at the hands of such a monster is as frightening as any X-File and as real as the acceptance that it can happen to you.

Episode Summary / Points to consider / Production analysis

  • Aside from Scully seeing Donnie shape-shift into the devil, a phenomenon also seen in her nightmare, this is a rare x-files case with little to no paranormal elements. It plays almost as any other procedural crime drama involving the behavioral profile of a killer. The case is solved by Mulder’s psychological analysis of Pfaster’s pathology, and good old-fashioned police and forensic work. What’s scary about the episode is not ghosts or monsters in the literal sense, but the evil of a regular person, and the horror that ordinary humans can inflict on one another.
  • At first, Scully appears weak in this episode, which can seem in contradiction to her usual strong character. The disturbing nature of the case bothers her significantly, while Mulder remains unfazed. The audience may wonder why a medical doctor, forensic scientist, and conductor of autopsies can’t stomach the gruesome crime scenes. But when considering the motives and pathologies of fetishists and serial killers, the overwhelming majority of them are sexual sadists who target only women. Even the prisoner they wrongly mistake for Donnie can only remember Scully’s name, indicating that his focus was on her as the attractive woman in the group+++. For a woman in the FBI, these scenarios are all too common. Mulder simply doesn’t have to worry the same way that Scully, or any woman, would. He wouldn’t be as bothered by this case—not as much—because it could never happen to him or anyone like him. Scully, on the other hand, sees herself in each one of the victims. It’s easy for her to empathize with the victims, because they are similar to her. If this notion isn’t disturbing enough on it’s own, Pfaster then runs Scully off the road and holds her captive while he runs a bath and she has time to contemplate what he’ll do to her, and just how much she can end up resembling those crime scene photos. ++++ While viewers may not like to see their strong heroine cry at the end of the episode, she merely can’t help it after fighting off her attacker and being saved just in the nick of time. Unspeakable violation and disfiguring death came too close.
  • We see a lot of funerals on The X-Files, and many are those of young people. We tend to hear the same generic eulogies that their young friends give: “He/she was a great friend, like a brother/sister to me, etc.” But in the beginning of “Irresistible,” Jennifer’s friend says one thing that stands out: “We’ll miss the times we would have spent together.” Although Jennifer was not killed by Donnie, this line serves to further underscore his evil nature—what he does not just to women but to the families he steals those women from. He robs the women of every special moment they ever would have had for the rest of their lives. Whether it be weddings, birthdays, or just a fun night hanging out, or reading a book, or listening to music, those victims will never have any more of them. And their left-behind loved ones will never share another moment with them either. This is something Scully thinks about as she performs autopsies—the victim’s stories+++++. It is something she is desperately afraid of losing herself.
  • Scully awakens in bed by a phone call from Mulder at 11:21pm, just like in the season 1 pilot and finale, “The Erlenmeyer Flask.”
  • When Bocks watches the football game, the focus is on a play by Minnesota Vikings wide receiver Cris Carter.
  • When the agents are walking through the cemetery after the credits, the camera pans past several gravestones. The name on one of the stones is Raymond Soames. Ray Soames is the name of one of the “Class of 1989” students that the plot of the pilot episode revolves around.
  • “Irresistible” is not only one of Chris Carter’s favorite episodes, but it inspired him to create his Millennium series later.
  • The original name of this script was “Fascination.”
  • Initially, the script called for Donnie Pfaster to be a necrophiliac but the idea was rejected by Fox as  “unacceptable for broadcast standards.”****
  • Scully’s devil, Donnie Pfaster, returns to haunt her in the season 7 episode “Orison.”

Episode Summary / Points to consider / Production analysis

“Irresistible” has proven to be an important episode in the canon of the series, in part, as previously noted, due to the inspiration for Millennium, but also for again broadening what an X-File could be, and for looking at the monsters within. It’s also the episode that opened up Scully’s vulnerability after the Duane Barry abduction. Aspects of this mirror themes in The Silence of the Lambs, when Agent Starling is dealing with police chauvinism and the objectification of the victim that is pulled from the river. John Kenneth Muir has noted other aspects of the episode: “What makes ‘Irresistible’ so successful is the depiction of Donnie as a very sick person and one, ultimately, who can’t overcome his bad hard-wiring. Donnie’s desires and actions are wrong, antisocial and incredibly violent, yet he has no capacity to stop. He is ‘programmed’ wrong, if you will. This idea is visualized throughout the episodes in compositions that identify his entrapment. Frequently, for instance, he is seen behind bars, an acknowledgment of both entrapment and his ultimate destination. There’s also a shot of Donnie Pfaster with a prostitute in which his usable space in the frame is bracketed by her body and raised leg. He is essentially hemmed in, a victim of violent forces within he can’t control.”****** But John’s point also raises an interesting idea about destiny and creating one’s own prison or trap. The classic 60s BBC series The Prisoner touched on this issue persistently. Therefore Donnie is trapped by his impulses, but he might have been able to have broken out of such a trap if he wanted to. – Matt Allair / John Kenneth Muir

Chris Carter initially had a lot of problems with standards and practices over the Jeffrey Dahmer flavored aspects of the episode. “When I handed the script in, it was really for a necrophiliac episode, and that just didn’t fly. You cannot do the combination of sex and death on network television.”*** Chris then acknowledged he called Pfaster a “death fetishist, and that all of the sexual content was implied.”
Chris Carter enjoyed working with director David Nutter on this episode. He said: “It was my first chance to work with David Nutter in a long time, and I wanted to give him something he could sink his teeth into. It’s a little bit different for us. It doesn't really have a paranormal aspect, except for Scully's perceptions of her deepest fears. I felt that I had to figure out what she is most afraid of, and she is most afraid of those things that most of us are afraid of. The idea of dying at the hands of someone—creature or not—and she is helpless to do anything about it. I thought it was a very good way to explore Scully’s character.” – Alyssa Waugh / Matt Allair

Carter claims that Scully imagining Pfaster appearing as a devil is influenced by real-life accounts: “There are reports of people who had been under the spell of Jeffrey Dahmer, who actually claimed that he shape-shifted during those hours when they were held hostage; that his image actually changed.”***
David Nutter said, “In many ways, Chris wanted to sell the idea that, as established in Mulder’s closing dialogue in the show, not all terror comes from the paranormal. It could come from the person next door.” This point also set a slight problem for the episode when Chris Carter realized that there was nothing in the episode that constituted an “X-File,” hence the visual effect morphing of Pfaster from various historical villains into a demon. – Alyssa Waugh / Matt Allair

Nutter said of the episode: “I really worked hard to make it a special show, because I thought it was special. It was Gillian's post-traumatic stress episode, because she had not really had the opportunity to vent her feelings about the whole Duane Barry situation. This was an opportunity to sit back and let all that happen.” Carter particularly liked the scene where Scully hugs Mulder, calling it a “tender moment” between two characters that had not shown that much affection for each other.* While such episodes could be taxing for Gillian Anderson, she often would take the emotional demands of such episodes in stride. Anderson has noted, “It was all extremely technical, so I think I learned early on to leave my work at the door and not take it home with me.”*** – Alyssa Waugh / Matt Allair

On the casting of Nick Chinlund as Pfaster, Carter “thought it was a wonderfully creepy villain. The casting of that show was very difficult. We saw many actors, but there was a quality I was looking for and I couldn't put a name on that quality. I finally figured out what it was when Nick came in and he had a kind of androgynous quality that worked. I thought he looked like Joe College, but he could scare the hell out of you.”** Producer Glen Morgan said Chinlund’s performance was outstanding.  Nutter stated, “Nick Chinlund was wonderful to work with. The guy was like putty in my hands. He was great. If you’re looking for someone to underline the weirdness and strangeness of the character, he did that.” Nick Chinlund was born in November 1961 and raised in New York City. He played basketball at Brown University, but after suffering an injury at Brown he took up acting classes and realized it was his calling. He appeared in Red Shoe Diaries before his big break in Lethal Weapon 3, and followed this with Bad Girls. His television appearances include NYPD Blue, Rough Riders, Third Watch, Gilmore Girls, Buffy the Vampire Slayer, Law & Order: Special Victims Unit, Desperate Housewives, Ghost Whisperer, 24, Castle, The Mentalist, House, and Grimm. His feature film appearances include many notable films, such as Eraser, Con Air, Mr. Magoo, The Kid, Training Day, The Chronicles of Riddick, The Legend of Zorro, and The Prey.

Bruce Weitz, who played Agent Moe Bocks, has enjoyed a varied career. Born in 1943 in Connecticut, Weitz went to Los Angeles in the mid-70s, where he became a frequent guest star of Columbo, Quincy M.E., Happy Days, and The White Shadow. He got his first real break in 1981, when his high school friend Steven Bochco was writing the pilot for a new cop show, Hill Street Blues, and Weitz won the role of Mike Belker.****** Other roles followed in the 80s: Matlock, Mama’s Boy, Twilight Zone, Midnight Caller; the 90s included Anything but Love playing Mike Urbanek, Highlander,The Byrds of Paradise, Lois & Clark: The New Adventures of Superman, Murder, She Wrote, Sisters, NYPD Blue, The West Wing, E.R., Judging Amy, JAG; and recent shows include Dexter, and CSI: Crime Scene Investigation. Some feature film work includes Windrunner, Cops N Roberts, Coyote Summer, Deep Impact, Marc 2, Focus, and El Cortez.

+ The dialog is a direct reference to Jeffrey Dahmer, born in May 1960 and Died in November 1994, Dahmer was a serial killer and sex offender who dismembered seventeen men and boys between 1978 and 1991, he was nick-named the Milwaukee Cannibal as many of his later murders involved Necrophilia and Cannibalism. He was convicted of fifteen of the sixteen murders he committed in Wisconsin, Dahmer was found legally sane during the trial, although he was diagnosed with multiple psychological disorders. He was beaten to death while at the Columbia Correctional Institution by inmate Christopher Scarver in 1994.

++ The point Scully makes isn’t a reference to her religious faith here, but a specific kind of faith. The issue of her religious faith isn’t really addressed until “Revelations” in season three.

+++ The editor’s counter-point had a completely different take on the point. He refers to “that baseball announcer” (i.e., Vin Scully), implying that he remembered her name only because the last name was familiar; that by the line “that baseball announcer” Carter is directly referencing Vin Scully, the voice of the L.A. Dodgers, after whom he named the character of Scully.

++++ The editor’s additional counter-point had to do with what isn’t mentioned in context - the timing: this is shortly after Scully’s abduction, and she has rushed back to work without taking adequate time to deal with what happened to her. Next thing you know, she’s being abducted again. It would be a little more shocking if Scully weren’t affected by any of this. What stands out more is Mulder’s insensitivity to drag her into a case like this that he knows isn’t an X-File, just to take her to a football game (and one that she appears not to care about anyway). Another point is the chronological dates, there is some date confusion between this episode and “Firewalker,” so it isn’t clear where “Irresistible” fits after Scully’s abduction. At the end of “Firewalker,” Mulder refers to these events as taking place “between the 11th and 13th of November, 1994.” In “Irresistible,” Scully dates her autopsy as “Monday, November 14th.” This is obviously a problem, since they should be beginning a month-long quarantine on November 14th. It seems to be a production error during “Irresistible,” but still it suggests that this episode might fit closer to the time of Scully’s abduction than the order of the episodes implies.

+++++ One final editorial counter point about Scully’s comments regarding “Some Body” – It can be argued with this statement that Scully thinks about the victim’s stories as she does autopsies, is based on the understanding that Scully is saying “everybody” (that is, everyone), that unlike in her classroom musings earlier in season 2, when she’s teaching and starts talking about what the corpse/man must have thought and imagined, here she’s trying to be objective by focusing on the body. All of Scully’s comments during the autopsy make this clear: she refers to the “body” at least three other times, and all of her language refers to the forensics, not to the loving moments of these people while they were still alive.

Carter, Chris. The X-Files: The Complete Second Season. Fox. Chris Carter Talks About Season 2: "Irresistible.” Featurette.1994-1995.

**X-Files Confidential, by Edwards, Ted. Published by Little, Brown and Company. © 1996.

***The Complete X-Files: Behind the Series, The Myths and the Mythology by Hurwitz, Matt; Knowles, Chris. Published by Insight Editions.  © 2008.

Lovece, Frank. The X-Files Declassified. Citadel Press. 1996.

**** The Truth is Out There: The Official Guide to the X-Files by Lowry, Brian. Published by Harper Prism. © 1995.

****** The X-Files FAQ: John Kenneth Muir, published by Applause books © 2015


Synopsis Review and Production Notes: Alyssa Waugh
Additional Production Notes and comments: Matt Allair, John Kenneth Muir
Page Editor: A.M.D.

Please visit J.J. Lindl's Tumbler account, The X-Files Poster Project, to find out how to purchase his work: http://xfilesposterproject.tumblr.com/

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2x01 Little Green Men
2x02 The Host
2x03 Blood
2x04 Sleepless
2x05 Duane Barry
2x06 Ascension
2x07 3
2x08 One Breath
2x09 Firewalker
2x10 Red Museum
2x11 Excelsis Dei
2x12 Aubrey
2x13 Irresistible
2x14 Die Hand Die Verletzt
2x15 Fresh Bones
2x16 Colony
2x17 End Game
2x18 Fearful Symmetry
2x19 Død Kalm
2x20 Humbug
2x21 The Calusari
2x22 F. Emasculata
2x23 Soft Light
2x24 Our Town
2x25 Anasazi