THE BLESSING WAY

Directed by R. W. Goodwin. Written by Chris Carter.

EPISODE RATING (1 to 4 stars): ***

Following the events of the second season finale 'Anasazi', Mulder is believed to be dead by the FBI and the conspiracy crew alike. But, in fact, he was saved from death in the buried train car by the Navajo community, and is being nursed back to health by elderly Albert (Floyd "Red Crow" Westerman) using the mystical Indian "blessing way". Elsewhere, Scully, believing herself to be on her own, finds her career in the balance, and learns of a strange computer chip-like device that's somehow been implanted in her neck. But the worst is yet to come...mistaken to be her sister by killers, Melissa Scully (Melinda McGraw) is shot and left for dead. Finally, warned by a mysterious man (John Neville) at William Mulder's funeral that someone close to her will betray her, Skinner (Mitch Pileggi) demands she turn over the Department Of Defense computer disc that started it all, and the two face down each other over gun barrels.

This is a perfect way to kick off what would be one of The X-Files best seasons; it's a fast paced, well plotted sequel to 'Anasazi' that throws in a lot of new curveballs in the already complex X mythology. The introduction of Scully's neck implant is intriguing, and, of course, would go to become a key part of the abduction sage throughout the series. Neville (who's credits include The Adventures Of Baron Munchausen, Dangerous Minds and Urban Legend) is a wonderful addition to the ever-increasing cast of characters, and an interesting semi-foil for Cigarette Smoking Man (William B. Davis), who, of course, appears. Enforcer Alex Krycek (Nicholas Lea) is again on hand briefly to do CSM's dirty work, Mulder's mother (Sheila Larkin) appears and Lone Gunmen Tom Braidwood has a nice cameo with Scully.

The episode does stumble a little when dealing with Mulder's spiritual healing. The actual scenario is not bad per sec, but it comes off as a pretentious and a touch hokey. Plus, hearing Albert call Mulder "the FBI man" becomes very tiresome. However, it does give Mulder a dream sequence which boasts appearances by deceased characters William Mulder (Peter Donat) and, best of all, Deep Throat (Jerry Hardin), who's a welcome sight.

Despite a few little quibbles, 'The Blessing Way' is a strong beginning to an ambitious season.

PAPER CLIP

Directed by Rob Bowman. Written by Chris Carter.

RATING: ***1/2

Scully is reunited with Mulder, and both put their trust in Skinner to protect the disc, while they investigate what got Mulder's father killed. They follow a lead to Nazi scientist (James Bond veteran Walter Gotell) who was transported to America following the war to work on experiments for the US government. Ultimately, this leads our heroes to a top secret storage area where they discover an endless amount of files on US citizens, and Mulder himself witnesses what appears to be an alien spacecraft. With her sister in a hospital bed and his father in his grave, Mulder and Scully consider letting Skinner make a deal with CSM...the tape for their lives. Meanwhile, the conspiracy attempt to cover their tracks and tie up loose ends...including eliminating Krycek. CSM faces confronts Skinner and demands the disc, but doesn't count on his resistance...or how the Navajo people fit into it.

Utterly riveting finale to this exceptional three part story hits all the right notes, with everyone on both sides of the camera going above and beyond. Carter's script is one of his best yet, and he writes some dynamite dialogue and character developments. Bowman generates lots of suspense and action throughout the whole show, but wisely lets us take a breath for emotional moments between the shows more sympathetic characters. Both Mulder and Scully have undergone recent tragedies, and must decide if their mission is worth the suffering they and their loved ones have gone through. Anderson and Duchovny are terrific relaying their anger and grief.

Yet the recurring cast actually kind of steals the show; Lea has three scenes, and each of them are great, including an assault on Skinner and a thrilling escape from an exploding car. Neville's Well-Manicured Man has a remarkably honest (or is it?) sequence in which he explains essentially what the conspiracy has been doing since the beginning. Davis does a memorable job of portraying CSM as he finally starts to come unglued, as everything he's worked for his on the verge of falling apart. The show's best scene is an electrifying battle of wits between CSM and Skinner, in which Skinner outsmarts him and scores a huge victory for the good guys; It's a moment that all X fans will doubtlessly love.

Sensational conclusion to an excellent story line, and one which is more than worthy of repeat viewings.

William B. Davis on 'Paper Clip': "I shouted at Skinner: 'Do you have the damn tape?!' In one rehearsal, I said a different word than 'damn'...which, of course, the character would really say. The scene worked beautifully; I wish we could have kept it. But Rob said, 'That was good, but you can't say that on television. I'll let you say that in the movie'. Well, he didn't let me say that in the movie, either. The point is, watering it down for television makes it a little more challenging for you as an actor to get the bite you want to have in the scene. In real life office confrontations, the language is sometimes pretty salty."

D.P.O

Directed by Kim Manners. Written by Howard Gordon.

RATING: **

A small Oklahoma town has had a rash citizens being killed by lightning. Mulder and Scully show up, and quickly connect the deaths to a local slacker Darren Peter Oswald (Giovanni Ribisi) and his friend "Zero" (Jack Black). The former himself was struck by lightning years ago, and now appears to have the ability to control electricity. Oswald has no qualms about using his power, and has an unhealthy fixation with one of his teachers. He'd do anything to win her over...and anything to whoever gets in his way.

One of the lesser stand-alone episodes of the third season is not a bad entry as such, but never distinguishes itself. Director Manners provides a few good moments of tension and atmosphere including a fairly effective opening and finale, but it's certainly not his best work of the season. Then again, it's not his worst either. The biggest problem is the script is half-baked at best…the only drive is DPO’s obsession with his former teacher, which isn’t a particularly interesting plot device. The now-well known guest stars Ribisi (Friends, Saving Private Ryan) and Black (High Fidelity, Shallow Hal) have proven themselves to be gifted actors, but they don't really get a chance to give any depth to their none-too-bright characters. Ribisi hits an arresting note a couple of times, but the character falls apart towards the end. Black just doesn’t get to do anything.

A few decent visuals help somewhat (including a funny spin on the Executive Producer Chris Carter end credit), but overall, this is strictly mediocre.

Howard Gordon on 'D.P.O.': "This is obviously unscientific, but one of my friends is an editor, and his kids say this is their favorite episode. It appeared to be popular with kids under 18. Darren is a lost child, almost a feral child in his own way, without any kind of moral compass or family ties. There's basically nothing redeeming about this guy at all. At the same time, there was a certain clarity to his personality. He was clear and specific in the arbitrariness of his design and aimlessness of his his affections and emotions. In a way, there was something slightly pathetic about his affection, his schoolboy crush on this woman." 

CLYDE BRUCKMANS FINAL REPOSE

Directed by David Nutter. Written by Darin Morgan.

RATING: ****

Mulder and Scully are investigating a series of murders in which all the victims are fortune tellers, and their eyes and entrails removed. Insurance salesman Clyde Bruckman (Peter Boyle) discovers one of the bodies in his dumpster, but knows more about the killer than he should. Mulder believes Bruckman has psychic ability, and may be have a form of mental connection with the killer. Bruckman leads the agents to locations he believes the killer has been, and eventually, the bad guy learns of Clyde.

This is a truly remarkable, possibly groundbreaking, installment that took the show to new areas and in new directions. Morgan's script is multi-layed, and character-driven. The writer has developed an amazingly original and three-dimensional individual in Bruckman, world weary and haunted. Boyle's performance is stunning, and shows the actor is capable of more than his comic work on the wonderful sitcom Everybody Loves Raymond. The most telling thing about Morgan and Boyle's work here is that they both received Emmys.

Director Nutter should certainly not be overlooked: his direction is top notch, and does a marvellous job of balancing the episode's mixture of humor and emotion. Among other merits of this episode are two of the other characters: the villain (Stu Charno), who is certainly not like the typical serial killer, and a flamboyant psychic named Yappi (Jaap Broeker), who ranks as one of The X-Files most broadly comic characters ever. There are still some rather unsettling aspects too, mostly in the form of Bruckman's psychic flashes, which produces such creepy moments as severed eyes, a head in a lettuce bag and a dog consuming what appears to be human flesh.

From the intriguing pre-credits sequence (which boasts some terrific one liners) to the moving finale, 'Clyde Bruckmans Final Repose' is dazzling piece of work, and something of a turning point for the show.

Darin Morgan on Clyde Bruckmans Final Repose: "My pitch to Chris was that Mulder is so involved in psychic phenomenon that he's interested in Clyde only for his abilities. But Scully, doesn't believe in these abilities, so she can consider this man as a person and see how, even though he believes he's psychic, it's ruined his life. That was one of the main points of the episode. Everyone considers Mulder to be the one who has all the answers, but I think sometimes he's so narrow-minded that he doesn't do some things properly. He never really considered Clyde Bruckman as a person only as a phenomenon. The note Clyde leaves for Scully is written to her, because Bruckman knows that she's treating him as a person."