Written by Charles Grant Craig
Directed by Kim Manners
Technically, this
episode bears a resemblance to the last two---- a first-time writer's debut
script for the series. But Oubliette is made of much sterner stuff than the
last couple of episodes, which may be the reason its reputation isn't as great
as it should be. For another, it's a much more atypical episode of the
series---- indeed, one might have trouble calling it an X-File at all.
The episode is
book-ended by moments that show us just how far the series has gone in the last
two seasons. A thirteen year old girl is abducted from her home by an unknown
assailant. Mulder comes on to the scene, expresses his sympathy to the victim's
mother, who snaps at him; "How can you possibly know what this feels
like?" For awhile, we wonder if the obvious link to his sister's abduction
is going to come up. Then the connection is brought in with a woman named Lucy
Householder, who was abducted in a similar fashion more than twenty years ago,
and is now suffering through bizarre injuries and symptoms that she can't explain, and doesn't want to
explore. The connection isn't spelled out until Scully makes a direct
connection to Mulder--- and he practically tears her a new one. "Not
everything I do or think or feel or say is about my sister," he memorably
says.
The main reason
the viewer has been trying to hold to this to that connection is because
without it, our usual compass for the show is nowhere to be found. Lucy is
hard, unsympathetic and aggressively determined not to be helpful, almost
demanded that the viewer not sympathize with her. This is, in fact, probably
one of the most believable portraits of a victim of kidnapping and abuse, which
still doesn't make her callousness any less hard to bear. It's also part of the
reason you can almost see this episode being a part of a Law & Order or Without a
Trace---- there's so little that can be considered supernatural. Even the
wounds that Lucy endures could be considered some kind of psychosomatic up to
the end--- and even then she doesn't seem to understand how or why this could
happen to her.
Normally, we
look to the kidnapper to prove some kind of release--- but this isn't even as
fascinating a villain as Donnie Pfaster was--- Carl Wade, has no quirks, he
seems ordinary bordering on dull. There's no explanation for his acts, no quirks
to his menace to make him memorable--- his biggest quirk is taking flash photos
of his victim in the dark. He'd barely rate as interesting on a procedural,
which makes his actions all the more frightening--- we're really not sure what
he'll do.
There's no
release from the traditional Mulder & Scully relationship either; in fact,
this episode is the beginning of a series where they are deliberately
adversarial. What makes this more unique is that for once, Scully doesn't seem
to be questioning the validity of his theories, but is far more concerned that
his emotional state is clouding his judgment. (If anything, her theory that
somehow Lucy is responsible for the kidnapping is a bigger leap than Mulder's,
considering the validity of her alibi.) And there's no real spookiness or
bit---- perhaps the biggest scare is whether the kidnapper will give into her
request for a glass of water.\
All of this
makes for a very painful episode. Not because it's badly written (it isn't) or
badly acted. On the contrary the performances are generally superb, particularly Tracey Ellis' as Lucy.
But because the main character's hard
life make it so difficult for us to empathize with her even despite what has to
have been a horrible trauma, our own sympathies for her are difficult to
measure. Which makes it all the more shocking when she dies at the end, and we
realize that part of the reason she felt this way was to get away from Carl
Wade and all the pain she caused her.
In retrospect,
its not that shocking that Craig would never write another script for the
X-Files. This is an episode so different that it barely qualifies as one. That
doesn't change the fact that it's something of a gem. It's not the easiest
episode to watch, and it sure as hell isn't the easiest episode to like, but
it's definitely nothing we've seen in the series so far, in this or any other
season. An underrated episode, this starts a streak of what will prove to be a
remarkable six months in the history of the series, and of TV in general.
My score: 4.5 stars.
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