Despite Gillian Anderson’s excellent performance, Scully’s somewhat routine medical drama repeatedly interrupts the momentum of Mulder’s case, and vice versa.
Unfortunately, these two separate plots work against each other at times.
hospital.Īt this point, the episode splits into two distinct storylines, with Scully sitting by her mother’s bedside while Mulder hunts the supernatural trash heap. The call is actually from William Scully Jr., her brother, who’s calling to let her know that their mother suffered a massive heart attack and is in a Washington D.C. The look of shock on her face is equal to our own. While examining the victim’s torso, Scully gets a call from William. Though the floor of the crime scene is covered with bloody bare footprints, the forensic tech can’t lift a print because they “lack ridges.” This instantly leads Mulder to determine that “this person was born without footprints.” Seems like a bit of a leap, but okay. At Chris Carter’s suggestion, the order of episodes was shuffled to help clarify a subplot about their son’s adoption. If you’re wondering why they’re introduced with a lingering shot of their outstretched FBI badges, it’s because this was originally filmed to be Episode 2, and would have picked up with their reinstatement into the bureau following the events of the premiere. The next day, Mulder and Scully arrive to investigate.
Bravo to the sound designers for giving Band-Aid Nose Man’s thudding footsteps a menacing quality all their own. Echoing images from classic John Carpenter films like “Halloween” and “Prince of Darkness,” this opening sequence is one of the series’ most strikingly cinematic. Known as “Band-Aid Nose Man,” this barefooted terror joins creatures like Leonard Betts, Eugene Tooms and the Flukeman as one of series’ greatest gross-outs.īefore Cutler can call for help, Band-Aid Nose Man rips him apart in a shower of blood. Unfortunately for Cutler, vengeance arrives in the form of a ghostly garbage truck and its fly-ridden passenger.
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