E-mail author about this story
a teleplay by Abbie Anderson
Originally completed 8/19/95; last revision 1/28/96
Summary: A psychiatrist who works with abductees is found dead in an apparent suicide, and his secrets turn out to be linked with those of Scully's new boyfriend. No Mulder-Scully kissing in this one. Spoiler alert: draws on events from 2nd and early 3rd season.
Disclaimer: The universe of The X-Files and the characters therein are the intellectual property of Chris Carter, Fox Television, and Ten-Thirteen Productions, and have been used without permission. No copyright infringement is intended; I'm just having a good time. If you like what I've done, feel free to share it, but of course do give me credit for it and provide the sharees with my e-mail address. If it provokes a reaction, positive or negative, please let me know. Constructive criticism especially welcome.
Formatting reduced for posting to Internet. E-mail author to request hard copy in teleplay format.
Notes re: conventions of teleplay format:
"INT."="interior" (i.e., a scene set indoors)
"EXT."="exterior"
"V.O."="voice over" (i.e., the line is not spoken by a character in the scene, but is heard superimposed on the action--as in a narrator's voice, a voice on the telephone, or when we "eavesdrop" on a character's thoughts)
I have not fully conformed with teleplay format standards (for instance, character's names in "stage directions" are not in all-caps; sound effects and special effects are not marked, for the most part), nor am I good with camera angles or other technical aspects that ought to be in a serious teleplay. I'm definitely an amateur, here, and it shows.
FADE IN:
1. INT: WELL-APPOINTED STUDY, NIGHT
Roanoke, Virginia. Floor-to-ceiling books line the walls opposite
a display of Pueblo storyteller pottery and an enviable rack
stereo system; a library ladder is attached to the bookshelves. A
large polished rosewood desk bearing a computer, with printer and
shredder on a matching stand next to it, rests on a fine Turkish
carpet. Several folders and notebooks are stacked neatly on the
desk next to an empty box. A man enters, carrying a drink
(probably Scotch) with ice in it. He sets the drink on a coaster
on the desk, goes to the stereo and puts in a CD (light jazz or
Baroque; some nice Telemann, maybe). He returns to the desk,
takes a sip from the drink and starts to sort through the
paperwork.
The first file, marked "Confidential: Correspondence", he puts through the shredder. He stacks the rest of the files in the box, followed by a couple notebooks, leaving a scrapbook on the desk. He sits down, takes another sip, and starts to go through the scrapbook. The first page features a group photo of about ten people at a picnic table on a sunny day, including himself, with a hand-written caption: "Learning Together, Living Together: Saying Farewell to the Abduction Survival Group, 5/23/94."
Each page as he moves through the book shows a picture of one of the people from the group, with a small collection of newspaper clippings, microfilm copies and typed and written notes detailing the accidental deaths, institutionalizations, missing person's bulletins, or suicides of each person since May 1994. Sylvia, home-maker, abduction memories from age 8, died in boating accident 6/13/94; Richard, C.P.A., abduction memories from age 16, suicide by sedative overdose 7/8/94; Gwen, beautician, abduction memories from age 12, reported missing 7/23/94, body never found; Leroy, chemist, abduction memories from age 5, died in traffic accident 9/16/94; Joel, editor, abduction memories from age 14, died from contaminated shellfish, 10/3/94; LaShonda, attorney, abduction memories from age 22, evaluated by Dr. Richland 10/24/94 and committed to psychiatric care in private facility; etc.
He turns a blank page; then comes Duane, former FBI agent, on special release from the Davis Correctional Treatment Center, abduction memories from age 30, died--here the words "after escape attempt" are scratched out--in FBI custody 8/15/94 (yes, Duane Barry, but this goes by a little fast). The next page is a young man named Paul, artist/museum curator, abduction memories from age 2, living in Washington, D.C.
As the man turns the pages we begin to realize that he is crying very softly; finally he closes the scrapbook, puts it in the box, and lays his head in his hands. After a moment he composes himself, takes another drink, and gets out stationery (letterhead of Dr. Henry Jenness, M.D., psychiatric counselor) and a pen. He writes a brief note, sighs, and stands up, finishing his drink. He goes over to the books, climbs onto the ladder and reaches for something out of sight. He steps quietly off the ladder, hanging himself with very little fanfare. We've seen this coming for a while now, we're not really surprised. PAN back to the desk, where we now read the NOTE:
10/12/96
I have played a part in a terrible lie. I let the bastards use
me! I didn't know what they were. They watch me all the time,
there's no one I can trust. I've waited too long to make up my
mind. It's too late to ask forgiveness.
Henry Jenness
FADE TO:
2. INT: SAME ROOM, MORNING
Jenness' body hangs placidly. A Latina maid enters, sees the body
and begins to scream. We see that the desk is now empty: the box
and the note are gone.
FADE TO:
3. INT: STORAGE ROOM
Washington, D.C. The room is full of old office furniture,
derelict file cabinets, obsolete computers, etc. Skinner stands
warily with a line of sight on the door, like a man preparing for
a fight. Suddenly the lights go out; Skinner switches on a
surprisingly powerful penlight and runs it around the room. The
beam finds Mr. X at a far wall, carrying a box which we recognize
as the one from Dr. Jenness' study.
SKINNER
What is it with you and shadows, anyway?
MR. X
Thank you for meeting me on such short notice.
SKINNER
You know I don't go for any cloak and dagger crap. This better be
worth the melodrama.
MR. X
I don't indulge in melodrama, I take necessary precautions.
People lose their lives every day in the simplest of "accidents".
He moves forward, sets the box on a desk in front of Skinner, and steps back toward the door.
SKINNER
What is this?
MR. X
As I told you, something that concerns a pair of overzealous FBI
agents we're both acquainted with, ones who have a habit of
getting in over their heads. They're about to do it again.
SKINNER
Is this supposed to pull them out or push them in?
MR. X
It's up to you. Look at it yourself and see what you think.
Mr. X backs closer to the door. Skinner keeps the flashlight on him.
SKINNER
Why should I take this? I don't work for you.
MR. X
I know that, Assistant Director Skinner. Life and death
situations are just bureaucratic routine for a man like you. But
this time I think you'll agree that more is at stake. The truth
is often more dangerous than fiction--but in some cases walking
blind can be even more risky. Those kid gloves of yours are
wearing awfully thin. It's time you decided who you're assisting,
and who you're directing.
SKINNER
Thanks for the advice, I didn't know you cared. (pause) I think I
liked you better when I knew what your job was.
MR. X
So did I. (pause) Watch your step, Walt. There are too few
honorable men in the world as it is.
He opens the door and slips out, leaving Skinner in the dark.
FADE OUT.
FADE IN:
4. INT: FBI HEADQUARTERS, SKINNER'S OFFICE, MORNING
Skinner is seated at his desk, looking through some files.
Jenness' box is off to the side on his desk. The secretary opens
the door and Mulder comes in. Skinner looks up and gestures to a
chair.
SKINNER
Good morning, Agent Mulder, have a seat. Where's Agent Scully?
Mulder sits down.
MULDER
She hasn't come in yet.
SKINNER
Do you know a psychiatrist named Dr. Henry Jenness?
MULDER
No, I don't think so. Why?
SKINNER
Maybe this will jog your memory.
He opens the file and hands Mulder a laser-printed letter. Mulder recognizes it as he reads.
SKINNER
This is addressed to you from Dr. Henry Jenness, dated September
27, 1994. Did you receive a copy of this letter?
MULDER
Yes, yes I did. You've read the letter; he didn't say anything
specific about why he wanted to see me. He got my name from UFO
circles, he works as a therapist for abductees. I called him and
made an appointment, but with the X-Files shut down and Scully
[he hesitates] missing, I couldn't promise him much. He canceled
our meeting, and I never heard from him again. Where did you get
this?
[The chronology here is a little tricky: going by the date of 8/7/94 given in "Duane Barry", Scully must have been abducted around 8/14. At the conclusion of "Ascension", the next leg of the story, Skinner promises to reopen the X-Files; but in the next aired episode ("3"), when we see Mulder taking the dust-covers off his old office, he turns his bikini-babe calendar to November--which means it's been at least six weeks since Skinner's promise (assuming he's turning to the current month and not just to a set of babes he happens to like--blecch). I'm placing Jenness' letter to Mulder during that six weeks, while Mulder was apparently in limbo. Jenness got scared off the appointment by the bad guys, probably by the official misinformation that Mulder was responsible for Duane Barry's death. Mr. X may have fed him some of the information about his former clients, as well.]
SKINNER
This morning Dr. Jenness' maid found his body hanging from the
timbered ceiling of his study. No suicide note was found, but the
maid told police that the papers from a project he'd been working
on lately were missing. The shredder had been used, and his
computer was completely wiped as well.
MULDER
I don't understand. What does this have to do with me? You don't
think I killed him, do you?
SKINNER
There was a suicide note, Mulder, it just wasn't there when the
police arrived.
He reaches into the folder again and hands Jenness' suicide note to Mulder, who scans it.
MULDER
"It's too late to ask forgiveness"?
SKINNER
Dr. Jenness found out that bad things had been happening to the
former members of his support group. UFOs were not the end of
these people's nightmares. Certain private sponsors of Jenness'
work turned out not to be as philanthropic as he had wanted to
believe. Or as private.
Skinner stands up, puts out a hand to take the letter and the note from Mulder, puts them back in the folder and puts the folder in the box. He is not entirely comfortable with what he is about to do.
SKINNER
This is not an official assignment, Mulder. In fact, it may be
illegal, and it certainly represents more danger to you
personally than anything I should ask you to do. But I believe
this matter may mean something to you and Agent Scully. A piece
of the truth, maybe more than that if we're lucky. (pause) One of
the names in Dr. Jenness' files is Duane Barry.
The light dawns, with memories of a near escape from an all too real, all too personal Hell.
SKINNER
If you don't want it I can send it all right through the
shredder.
MULDER
No, I'll take it.
He stands up and moves to pick up the box. Skinner stops him with a strong hand over his forearm.
SKINNER
You take that box, you share everything in it with your partner.
Don't walk this one alone, Mulder. It's as much her fight as
yours.
Mulder doesn't like this, but he nods tightly. Skinner lets him go, and Mulder picks up the box.
MULDER
Then you tell me something. How did this come to you?
Skinner sizes him up.
SKINNER
Unofficial channels.
Unless he wants to try punching him again, Mulder will have to accept the stonewall. For now.
CUT TO:
5. INT: X-FILES OFFICE
Scully is seated at a desk, examining some rather grisly crime
scene photos. Her mind is not on her work, and strangely enough
she is humming. Mulder comes in with the box; she looks up,
breaks off her hum, and gives him a cheery greeting.
SCULLY
Good morning. Sorry I was late. Did I miss anything?
Mulder sets the box down and comes over to look at what she's working on, avoiding the question.
MULDER
You're sure in a good mood. Any particular reason, or is this the
way you've always reacted to bizarre dismemberings and I just
never noticed before?
She stretches a little luxuriously and smiles at him.
SCULLY
I guess you could say I'm feeling pretty good. (pause) There's
this guy I've been seeing.
Reaction: Oh, really? This is news....
MULDER
When did this happen?
SCULLY
Over a month ago, not that it's any of your business. His name is
Paul, he works for the Smithsonian. My brother Charles was his
T.A. at Albuquerque, and they got to be buddies. They met up
again in D.C. last year, after Chuck moved back here to be close
to me and Mom. Remember how you wouldn't go with me to his
housewarming? That's where I met Paul.
Hm.
MULDER
Congratulations, Scully, I'm happy for you.
SCULLY
Thanks. I'm happy for me, too. It's all happened a little fast,
but right now I can't really bring myself to care. I was
beginning to think true romance was a lost cause. (pause) He's
meeting me for lunch in [looks at her watch] two hours and
thirteen minutes. Do you want to join us?
Reaction: You've got to be kidding.
MULDER
That's a generous offer, Scully, but I don't think I could stand
that much happiness concentrated in a small area.
SCULLY
It's not toxic, you know. You should try it some time.
MULDER
Nah, gives me heartburn.
SCULLY
Mulder, I mean it, have lunch with us. He wants to meet you.
MULDER
Me? Why does he want to meet me?
SCULLY
He says he wants to know what he's up against in terms of my
other attachments. We talk about our lives a lot, and if I talk
about work I have to talk about you. (pause, softer) Your opinion
is important to me, Mulder. I trust your instincts more than
mine. My judgment's a little blurred about the whole thing.
MULDER
I don't know, I'd feel like I was interrupting something.
SCULLY
Not at lunch, Mulder. I wouldn't ask you if I didn't want you
there.
MULDER
All right, all right, anything for a friend.
SCULLY
Good.
Time to change the subject: Scully glances away and notices the box.
SCULLY
What's in the box?
Mulder hesitates. This is not something he wants to talk about anyway, and he's just gotten a reasonable excuse to put it off: "She's in a good mood, I'll tell her later. After I've looked at it and decided what to do."
MULDER
Just some old case materials Skinner wants me to review. I'll
look at them after lunch, I've got some other paperwork I need to
clean up first.
He looks at her.
MULDER
I guess I know now why you were late this morning.
She smiles and gets back to the dismemberment photos.
SCULLY
Don't ask-don't tell, Mulder. You're getting nothing out of me.
Any more cute comments like that and you'll find yourself on your
butt in the hallway with a Help Wanted sign on the door behind
you, understood?
MULDER
Yes, ma'am.
He gets to work; Scully starts to hum again. Mulder realizes this is not going to be easy to take.
MULDER
Do you have to do that?
SCULLY (genuinely innocent)
Do what?
CUT TO:
6. INT: CAFE
A young man in his mid-twenties is seated at a table by himself,
waiting (Paul, of course). This, as we ought to have guessed
already, is the same Paul from the last page of Jenness'
scrapbook. He has long hair pulled back in a ponytail, dark brown
with glints of red and gold, the kind of hair that makes women
jealous: thick and wavy but still soft, stuff you want to bury
your hands in. In his left ear he wears a small feather earring
that looks homemade. His mixed Southwestern ethnic heritage shows
in a golden brown complexion and dark eyes with maybe a touch of
hazel-blue. He has a sweet, open, ready-to-laugh face, but not
without depth. He has a tendency to drift off in easy
contemplation, which is what he is doing now.
Paul is many things that Mulder is not: tender-spirited, gentle and overtly sensual, looking for beauty and with a knack for finding it everywhere he goes, and therefore inspiring beauty and pleasure in other people: an Appreciator. He doesn't expect the world to make way for him or try to force it to give up its secrets; it tends to open for him willingly (as Scully has done) in response to the loving attention with which he approaches it. As an artist at heart he pays attention, he takes in, he sees in a very holistic fashion, which can be extremely flattering if what he's taking in and Appreciating is you. He is a comfortable person, someone who chooses peace--unlike Mulder, whose life is about risking and questioning and questing, inherent discontent and doubt motivating the quest. But Paul has bought his equilibrium at a price: he has made peace with his abduction experiences (and with some more sinister things) by subsuming their horror, subducting it to make something else. He has become its collaborator. This breeds a certain mellow fatalism that is both appealing in its comfort level and ultimately draining in its refusal to fight. This is something Scully would not understand. She is a fighter, which is in part why her partnership with Mulder became so firm so quickly: she respects Mulder's fight and understands the impulse on a gut level, even if she disagrees with his choice of battles and with his often imprudent courses of action. Scully is above all prudent, and that is why her sudden happiness with Paul has a fringe of uneasiness: "This isn't like me." She is more like Mulder than she would like to think; she is capable of his kind of passion, and has come to support his quest with an equally vehement commitment. It's the Don Quixote thing: even if we think he's crazy, we need to know he's out there upholding his ideals, tilting at windmill giants and bringing the bastards down.
Paul's face lights up as he sees Scully and Mulder approaching, and he gets up to meet them. He is not much taller than Scully. She is obviously excited to see him, and they both glow a little. Paul takes Scully's hand, but it's apparent that they'd both be happy for more touch; the intended discretion has the opposite effect of underscoring their intimacy.
SCULLY
Paul, I want you to meet my partner, Fox Mulder. Mulder, this is
Paul Rosario.
The two men shake hands.
PAUL
I'm glad you could join us. I've heard a lot about you, Agent
Mulder.
MULDER
Any of it good?
They all go to sit down at Paul's table.
PAUL
I suppose that depends on what you call good. If absolute
commitment to a cause regardless of your own safety and sanity,
and a very smart partner who would trust you to the ends of the
earth count as good, then sure. You sounded pretty interesting to
me.
MULDER
I hope I don't disappoint. I don't know what Scully's told you...
Paul looks at Scully, smiling softly.
PAUL
"Scully". That's so funny, I just can't think of you that way.
Exactly the point. It is perfectly clear that this man adores this woman. Mulder hopes the whole lunch isn't going to be full of such melting glances.
MULDER
You're one up on me, Paul. I didn't know you existed 'til this
morning.
PAUL
That's why I wanted to meet you. It didn't seem right, somehow.
And I had a feeling this paragon of discretion hadn't said
anything about me.
SCULLY
I was waiting to see how you panned out. No need to startle
anybody 'til I knew for sure.
PAUL
Flatterer, isn't she?
MULDER
I wouldn't know.
Mulder isn't exactly hostile, but this not a particularly comfortable situation, either. Paul is aware of this, and wants to bridge the gap. He also knows that his own relaxed ease and liking for people can be contagious. Nothing fazes him.
PAUL
You're probably wanting to know something about this stranger
who's messing with your partner. I had a whole speech prepared,
let's see if I can remember it. I was born in Santa Fe, New
Mexico in 1969, the day after the lunar landing. Growing up in
Santa Fe you almost have to want to be an artist, and I do a
little sculpting and mixed media work, but my degrees are in
Anthropology and Museum Studies. I'm working at the Smithsonian
now as a conservator for their Southwestern collections. I'm
genuinely qualified for the job as a Southwestern American mutt.
I've got a little of everything: mixed Native American and
Latino, with some good ol' European immigrants and other stuff
thrown into the pot. My great-great-great grandfather was a slave
who went West after the Civil War and married a Navajo woman. I
have a great-grandmother from Ireland, and my mother's father was
a Polish Jew who ended up in New Mexico during World War II, one
of those scientist refugees Uncle Sam took in for the sake of the
war effort. I'm the youngest of five kids, two boys and three
girls. I miss my family a lot, I get back to Santa Fe as much as
I can.
MULDER
What's your favorite color?
Paul smiles.
PAUL
Green. Yours?
MULDER
Pink.
Scully stifles a laugh.
PAUL
I asked Dana, but believe it or not she said she doesn't know
what football team you call your own.
MULDER
The Seahawks. I like the helmets.
Paul cannot be rocked out of his calm general pleasure. He thinks this is funny, if not yet satisfactory.
PAUL
Come on, Mulder, this is serious. I don't want to be a stranger
to you. Dana is important to both of us, but it's like you get
one world and I get another. It's not good to live like that, I
don't want her to be that separated from herself.
SCULLY
Paul, you're embarrassing me. Everybody has to have a life
outside of work, it doesn't make you schizophrenic.
PAUL
Help me out, Mulder, she won't listen to me about things like
this. A house divided against itself cannot stand, right?
MULDER
I don't know, Paul. The Dana Scully I work with is pretty good at
making her own decisions.
SCULLY
Why, thank you.
MULDER
Besides, I have been accused of not having a life, so I'm
probably not the one to ask.
Suddenly a beeper goes off, and after a moment's confusion it is identified as Paul's. For some reason this flusters him; his discomfort is all the more marked in comparison to his previous well-being and in proportion to the minor, even routine event of a beeper sounding among federal employees. He fishes it out and turns off the alarm.
PAUL
Damn, that's me. I never get used to this thing. I'll be right
back.
He gets up to go make his call, caressing Scully's shoulder as he goes past her. Scully watches him go. The shadow of a wish to throw her lover to the ground and have an earnest discussion with his skin plays over her face before she turns back to Mulder.
SCULLY
So what do you think of him?
MULDER
I don't know, I thought you'd go for somebody...taller.
He's not going to say anything direct about the five-year age difference.
SCULLY
Seriously, Mulder.
MULDER
Seriously, Scully? I think Paul Rosario is a very lucky guy.
Scully takes the compliment with a smile, fully intending to get a more detailed evaluation later.
CUT TO:
7. INT: CAFE, PHONE
Paul speaks into a payphone, still strangely anxious.
PAUL
I don't like it. You promised me--yes. (pause) Yes, I know.
He looks across the room to where Scully and Mulder are now talking to a server at their table.
PAUL
I have to go. I won't forget the appointment.
He abruptly hangs up and stands at the phone, shrugging his shoulders against something that just doesn't sit right any more. Watching Scully again, the tension on his face sifts into a profoundly tender sadness.
PAUL
I'm sorry, Dana.
FADE OUT.
FADE IN:
8. INT: X-FILES OFFICE
Mulder and Scully enter, talking.
MULDER
Come on, Scully, I just met the guy. What do you want me to say?
SCULLY
Do you like him. Do you think he's a closet axe-murderer? You
have a good nose for things like that.
MULDER
I don't know. I don't think so.
We're not sure which of her sentences he's answering; he might not be sure, either.
MULDER
He seems to like you a whole lot, which I guess is all that
counts.
Scully is grateful for this gesture, but won't embarrass either of them by dwelling on it.
SCULLY
First impressions are funny, anyway. Take you and me, for
instance.
MULDER
What do you mean?
SCULLY
You've been surprising me ever since I walked in that door,
Mulder. I'm not sure what I was expecting, really. Some geeky
genius with an obsessive twitch and no social skills, I suppose.
And there you were, loose and funny and supremely hostile--
MULDER
Me? Hostile?
SCULLY
Give me a break, Mulder! Practically the first thing you ever
said to me was, "I was under the impression that you were sent to
spy on me."
MULDER
I said that?
SCULLY
Within the first five minutes of meeting me, yes. It's not
something I'd forget. I was in a bad enough position as it was.
MULDER
Maybe I was a little hostile.
SCULLY
You had an Attitude as big as this room, and hands as big as my
face--
MULDER
What, you noticed my hands?
SCULLY
Sure. What did you notice about me?
MULDER
Your eyes. Definitely your eyes. But mostly your strength.
SCULLY
My strength?
MULDER
Strength of mind, strength of convictions, strength of character.
I think I knew I'd met my match. (pause) You know, it was
positively spooky, the first few weeks we worked together. I
could have sworn somebody did a profile on me and searched the
Bureau for the one person who could get to me.
SCULLY
I always wondered how I pulled the assignment. (pause, suddenly
almost shy) Why tell me this now?
Mulder shrugs.
MULDER
Because I can.
I.e., because you're with somebody, and describing the impact you've had on me does not offer/threaten the same kind of intimacy to confuse either of us with. Wanting a distraction, Scully notices the box again.
SCULLY
You still haven't told me what's in that box.
Mulder turns to it reluctantly.
MULDER
I don't really know myself, yet. Skinner didn't tell me much.
SCULLY
You must not have liked what he did tell you. I could swear
you've been deliberately avoiding it.
MULDER
It just reminds me too much of the assignments he gave me while
the X-Files were shut down. I don't like being handed things like
this. It's probably nothing.
SCULLY
Keep me posted. You've got me curious, now.
They each turn to their work. Scully gets out some files, sits at the computer and starts accessing information. Mulder sorts through the box, getting an idea of the contents. He comes to the scrapbook, sits down and starts examining the pages we saw in the Teaser. He comes to Duane Barry, glances up at Scully to be sure she isn't watching (her back is to him, or in profile; she doesn't see), and quickly turns the page over. His heart almost stops when he sees who the next person is: it's Paul. Abruptly he closes the book and makes a quick decision, gathering the files and scrapbook and putting them back in the box. Scully looks around at him.
SCULLY
What's up?
MULDER
I just remembered something I have to do at home. I'll take this
stuff with me and work from there.
He's already on his way out. Scully has the all-too-familiar sense that he's keeping something from her.
SCULLY
Mulder....
MULDER
Call me tonight, OK?
He's out the door. Scully calls after him
SCULLY
I'm having dinner with Paul...
She shakes off her concern and gets back to work, reluctantly letting Mulder be Mulder.
CUT TO:
9. INT: MULDER'S APARTMENT, AFTERNOON
Mulder enters with the box, sets it on the dining table, sees he
has a message on the answering machine and goes to play it back.
It's a man's voice
CHARLES [tape]
Mulder, this is Charles Scully, Dana's brother. She gave us your
number for emergencies. Please call me. I wouldn't bother you,
but I believe Dana is in danger. You can reach me at 555-8421.
Mulder takes a deep breath, looking back at the box, as the tape clicks off and rewinds.
FADE TO:
10. INT: MULDER'S APARTMENT, EVENING
Charles has just arrived. He is Scully's younger brother,
probably about 30 years old; his red hair has mellowed some since
childhood. The contents of the Jenness box are spread out by
Mulder's computer and on the coffee table in the living room;
Mulder has had time to get some work done, and has changed into
casual clothes. He has not been looking forward to this.
CHARLES
What do you know about Paul Rosario?
MULDER
I just met him today. I didn't even know they were going out 'til
this morning.
CHARLES
Trust Dana not to give anything away.
MULDER
You said she's in danger. Why are we talking about Paul?
Charles hesitates, shy about something.
CHARLES
I'm not psychic like Melissa was, but sometimes I just know
things about people. Especially when it comes to family: or
future family. I actually met my father-in-law before I met my
wife, and I knew it the minute I saw him. I got this image of him
playing with our kids. It was so strong I almost called him Dad.
MULDER
So is Paul the father of your nieces and nephews?
CHARLES
He'd better not be. It's kind of like radar with me. It hits
something big and a light comes on in my head. Sometimes the
alarms go off. The alarms started screaming the night Paul and
Dana met.
MULDER
What do you mean?
CHARLES
Paul is not safe for Dana. I can't shake the feeling that she's
close to something that will eat her alive given half a chance.
Paul is carrying something around with him, I can't put my finger
on it. I don't understand it; we've been friends for years, I
never felt anything like this about him before. It must be
because of Dana. I don't think he wants to hurt her, but this
thing, whatever it is, is a threat to my sister.
MULDER
Why come to me?
CHARLES
She doesn't want to hear it from her little brother. I thought
she might listen to her partner. She says that Mulder's evidence
always backs up his feelings.
Mulder reluctantly goes to the paperwork at his computer, picks up Jenness' client file on Paul and hands it to Charles. He looks through it, absorbing, then looks back at Mulder, grim but somehow not surprised.
CHARLES
Has Dana seen this?
MULDER
No. I didn't want to be the one to tell her that Prince Charming
is an abductee.
CHARLES
There's something else. At the party where they met, I was
talking with Paul when Dana came in. I could swear he recognized
her, like he knew her--and not just casually, it was like she was
someone he thought he'd never see again. She didn't know him from
Adam, but they sure hit it off right away. My alarms didn't start
going off 'til later. She hardly talked to anyone else the whole
night.
Mulder does not want to think about what Scully has done with Paul, on that or any other night. At least, not in front of her brother.
MULDER
Look, Chuck, this is none of our business. Your sister is better
than anybody I've ever known at taking care of herself. Just
because Paul is an abductee doesn't make him a criminal. He's
probably told her about it himself by now.
CHARLES
No, I don't think so. There's something here that he doesn't tell
anybody, that he can't tell anybody. If you're so comfortable
with it, what are you doing in here holed up with these files?
MULDER
I got tired of watching Jeopardy.
CHARLES
She shouldn't be with that man, Mulder.
MULDER (irritated)
It's her life. Who else should she be with?
Charles hesitates again.
CHARLES
When Dana first started telling us about her new assignment four
years ago, working with you, I knew she'd met someone important.
You don't have to be psychic to predict that investigating
unexplained phenomena would have a big impact on my sister the
scientist, but it wasn't just about the job. There's no one
closer to Dana than you are, Mulder, not even family. I mean
that. Paul's not the one who should have that place.
MULDER
I wouldn't be so sure. I've never seen her so...overflowing. She
said it herself: "true romance". She won't get that from her
partner--not this partner, anyway. There are rules against that
kind of thing.
CHARLES
I was under the impression that you didn't go by the rules.
These are Mulder rules, not just FBI rules. Mulder makes a blunt challenge to Charles' intrusion.
MULDER
I can't be "in love" with anybody, Charles. That "moon-June"
stuff just isn't for me.
Charles backs off. He hadn't meant to get so personal.
CHARLES
Whatever you say. I didn't come here to grill you, I'm just
worried about my sister. We have to stop this thing, Mulder. Dana
is going to be hurt, I know it, and it won't just be her
feelings.
MULDER
What are we supposed to do, tell her she can't see him again or
she'll be grounded?!
When the younger man has no answer, Mulder starts motioning him to the door.
MULDER
Dana Scully won't take anybody's bad feelings about something:
she requires hard evidence. You must know that as well as I do.
If I learn anything, I'll call you.
Charles lets Mulder herd him out, but stops as Mulder opens the door.
CHARLES
Talk to her, Fox. Tell her the truth.
Charles stops himself from saying more, and goes.
FADE TO:
11. INT: SCULLY'S BEDROOM, NIGHT
Scully and Paul asleep in bed, post love-making. For modesty's
sake Scully can be wearing a big shirt or something, but if we're
careful with camera angles in the dim room we can be more
realistic. Paul moves and twitches in his sleep, and we enter his
dream
DISSOLVE TO
12. INT: DREAMSCAPE
Hospital corridor, Paul standing in a hospital gown. Sounds of a
disturbance approach; double doors swing open and a gurney is
wheeled in with a woman strapped down on it: Scully, protesting
loudly and struggling.
SCULLY
Who are you people?! What are you doing with me?!!
She sees Paul and calls out to him
SCULLY
Help me! What's going on here?
Paul shakes his head sadly and turns away; there is nothing he can do. When he turns around again, Scully is lying in a coma on a respirator, as in "One Breath". A man in a surgeon's gown and mask stands next to the bed, looking down at her. A tear traces Paul's face.
PAUL
Why do you have to hurt people?
MAN
You're the only one who can help her now, Paul. Come and lie
down.
Was that Cigarette Smoking Man's voice? Suddenly Paul is lying in a bed next to Scully's and a tube connects their arms; his blood is pumping through it to her.
CUT TO:
13. INT: SCULLY' BEDROOM, NIGHT
Paul startles awake, sitting up abruptly with a cry. This wakes
Scully, who instantly moves to comfort him.
SCULLY
Paul, what is it?
PAUL
I must have been dreaming again. I'm sorry, Dana.
He gives her a sad, disoriented smile, and caresses her face. His loose hair spilling over his shoulders is quite lovely in the moonlight piercing the blinds.
SCULLY
Don't be sorry.
She kisses him.
SCULLY
Were you dreaming about me?
He smiles at the teasing, but the distress does not leave him.
PAUL
Yes. I always dream about you.
SCULLY
Then why look so sad? I thought you liked me.
He takes her in his arms, cherishing her tenderly, almost in tears.
PAUL
Dana, I love you so much! I don't ever want to see you hurt.
SCULLY
What do you mean?
PAUL
That's what I dream about.
He pulls back a little, then clasps her right hand and holds it up between the two of them.
PAUL
We be of one blood, you and I.
She smiles at him.
SCULLY
The Jungle Book. I lived for Mowgli when I was little. (softly) I
love you, too, Paul. I don't understand it, but I think it's
true.
She kisses him again.
PAUL (whispering)
You don't remember it at all, do you?
SCULLY
Remember what?
PAUL
They dragged you in kicking and screaming, and then afterwards
they thought you were going to die....
SCULLY
Paul, you're scaring me. What are you talking about?
PAUL
They said it was the only way...
He reaches a hand between his eyes in sudden pain.
PAUL
I'm not supposed to talk...
His nose suddenly starts to bleed; then his eyes roll back into his head and he falls back on the bed, spasming in siezure. Scully panics.
SCULLY
Paul? Paul!!
FADE TO:
14. INT: MULDER' APARTMENT, NIGHT
Dr. Jenness' files remain scattered about, currently unattended.
Mulder lies on the couch in front of the TV, watching one of his
tapes (we may not want to know what it is). The phone rings, and
he answers it.
MULDER
Mulder.
It's Scully; her voice sounds strained, tearful.
SCULLY [V.O.]
Mulder, it's me. (sniff) I'm at the hospital.
Mulder sits up in alarm, facing away from the TV.
MULDER
Are you all right?
SCULLY [V.O.]
I'm fine. It's Paul. He had some kind of seizure. I know it's
late--can you come here?
Reaction.
CUT TO:
15. INT: HOSPITAL WAITING ROOM
Scully and Mulder sit together; Mulder has brought Paul's case
file with him. Scully is wearing whatever clothes she threw on
before the ambulance got there. She looks exhausted, worn near
the limit.
SCULLY
One minute he was quoting The Jungle Book, the next minute his
nose was bleeding and he was in gran mal siezure.... Mulder, he
was talking about me not remembering something, about somebody
saying I was going to die. What is going on here?
Mulder wordlessly gets out the file on Paul and hands it to her.
SCULLY
What is this?
MULDER
It was in that box Skinner gave me.
Scully numbly opens it and reads; the truth sinks in, and she tilts her head back, closing her eyes. Her voice is flat.
SCULLY
He's an abductee. I should have known.
MULDER (gently)
He didn't tell you?
SCULLY
No. He didn't. (pause) What else is there? I need the truth,
Mulder.
MULDER
Paul was in an abductee support group led by a psychiatrist named
Henry Jenness who had special funding from a private research
consortium. Jenness broke the group up over two years ago, when
he began to suspect the unsavory nature of his patrons'
interests. Then the members of the group started having
accidents, disappearing, committing suicide. Two days ago Jenness
was found dead in an apparent suicide of his own. All of his
materials on the group were mysteriously missing, along with any
suicide note. Someone gave those materials to Skinner, and he
gave them to me.
He hesitates.
SCULLY
Tell me the rest.
MULDER
Someone was using Jenness' group to monitor and analyze alien
activity. His clients reported seeing human military
representatives as well as the usual little gray men. (pause)
Duane Barry was in Paul's group, too, Scully.
SCULLY
So you think, and Skinner thinks, that Paul has some connection
to the people who almost killed me with their little DNA
experiment two years ago.
Both of them are trying to keep their voices down.
MULDER
Dana, he's the only one from that group who hasn't been
eliminated or neutralized in some way. Somebody is trying to get
rid of the evidence, but for some reason they're not worried
about Paul.
SCULLY
Dammit, Mulder, I'm worried about him! I can't believe he would
willingly do me harm. You should have seen him tonight: I think
he was trying to tell me about this. Right before the siezure he
said he wasn't supposed to talk about it, and he put his hand
here, right where Duane Barry and that kid in Oregon had their
implants. Maybe he was there when they worked on me, maybe he can
tell us what happened! The answers I've had so far aren't enough.
I need to know, Mulder. I can't just turn my back on him,
especially not now.
MULDER
You can't trust him, Scully. He may not want to hurt you, but
he's being used by people who wouldn't think twice about it. I
think Skinner was right, we're close to something here that is
more dangerous to both of us than just another X-File.
Scully isn't ready to answer. She knows he's probably right, but that doesn't mean she is prepared to accept the implication that Paul is a threat. At this moment Charles comes up, and they stand to greet him.
CHARLES
I got here as soon as I could. How is he?
It is to her brother that Scully turns for comfort, the tears coming as she falls into his hug.
SCULLY
Oh, Charlie....
Scully gets a hold of herself, wiping at her eyes. Mulder knows she doesn't want him to see her like this.
SCULLY
You knew, didn't you?
CHARLES
I just had a feeling, Dee. Like one of Mom's dreams. Like so many
things you've seen. You can't always trust it. That's why you're
a scientist, remember?
SCULLY
I'm sorry I didn't listen to you. I should know better by now.
Thank you for coming.
MULDER
We can have X-rays done, see about getting those implants out.
Then maybe he'll be free to give you the truth himself.
Scully nods, reaching out to give his hand or arm a grateful squeeze (if this feels right). After what Mulder has told her about Paul, and the suspicions he has voiced, it means a lot to her that he still respects her feelings about the whole thing. A true friend sticks with you even when they think you're wrong (as she has done for Mulder). PULL BACK and PAN a short distance; Mr. X steps quietly out of a corner, turns and walks away, unobserved.
FADE OUT.
ACT THREE
FADE IN:
16. INT: BOXING GYM, EARLY MORNING
Skinner beats rhythmically at a boxing retort suspended on its
spring from the ceiling, skin gleaming from the intensity of his
workout.
CUT TO:
17. INT: SHOWERS/LOCKER ROOM AT GYM
Skinner steps out of a shower, grabbing his towel and drying off
as he heads to his locker. Cigarette Smoking Man is waiting for
him, for once not smoking. Skinner stops.
SKINNER
I knew it wasn't just the gym socks. Don't tell me you're here
for your health.
He opens his locker and starts getting dressed.
CIGARETTE SMOKING MAN
Your office would not be the best setting for the matter at hand.
SKINNER
Which is?
CIGARETTE SMOKING MAN
A situation is developing in one of the projects under my
supervision. Some proprietary materials we were to receive have
gone missing. I was hoping you might have some clues as to their
whereabouts.
SKINNER
You'll have to be more specific. I'm not up to speed on all of
your "projects".
CIGARETTE SMOKING MAN
The box, Assistant Director. Should I send a man around to the X
Files office, or should we try his apartment first? I don't like
to waste time.
SKINNER
You're wasting it now. I don't know what you're talking about.
CIGARETTE SMOKING MAN
I believe you've heard of a psychiatrist with an intriguing
specialty who recently came to a sadly premature end. Are you
aware that one of your more special agents is, what's the best
word for it, involved with a former client of his? A charming
young man, I've known him for some time.
Skinner doesn't blink, but he doesn't answer, either.
CIGARETTE SMOKING MAN
Her proximity was not a problem until now; in fact, we considered
it an asset. But now things have changed. She's been through so
much, I had hoped you would help me avoid the more severe
responses at my disposal. You see, I'm not the only one with an
interest in the case. But then, you know that already. I have a
competitive position to maintain.
SKINNER
Don't come to me with your professional problems.
CIGARETTE SMOKING MAN
All I want is a little information, Walter. I'm the polite one: I
ask first. Your agents might not get such a bargain elsewhere.
Skinner is dressed now, and turns to face his enemy.
SKINNER
Personally, I don't care about your "situation". Even if I wanted
to help you, my agents are not for sale. You'll have to get your
"information" somewhere else.
He shuts his locker door and goes out, Cigarette Smoking Man's hooded eyes following.
FADE TO:
18. INT: PAUL'S HOSPITAL ROOM
Paul is sitting up in bed, Scully sitting with him; Charles
stands against a wall, Mulder a little away from the bed. It is
not implausible that relatively little time has elapsed. Scully
could manage priority processing on Paul's X-rays; simple
out-patient surgery would allow rapid recovery from the removal
of the nose implant. Paul embarks on his confession.
PAUL
Ever since I was little, I've had these dreams about being taken
out of the house in the middle of the night to see the doctor.
Only the doctor was a funny-looking guy with big eyes and a lot
of little helpers like Santa Claus, and sometimes he had to hurt
me. A lot.
MULDER
And it turned out you weren't dreaming.
PAUL
It took me a long time to figure it out, but yeah.
Paul turns to Scully.
PAUL
I'm sorry about Dr. Jenness. He was a good man, he helped us a
lot. I swear I didn't know about the others. We didn't keep in
touch. Gwen, LaShonda, Joel...all of them?
MULDER
You're the only one who can still tell this story, Paul.
Paul closes his eyes, leaning back against the pillows, knowing this will be hard to explain.
PAUL
Maybe if I start at the beginning this will make more sense.
Remember my Polish grandfather, the scientist? He worked on stuff
he couldn't tell us about, but it wasn't nuclear. Biochemistry,
something like that. He would look so sad, sometimes....
He drifts off into memory, grief and shock.
CHARLES
Sounds like big secrets run in your family. You've been very good
at covering this one up, Paul.
PAUL
I must have been maybe three or four when I told Grandpa about my
dreams, and it wasn't long before he started taking me in for
check-ups; he asked me to tell him whenever I had a dream like
that, so he could take me to the doctor. A special doctor at the
place where he worked. At first I thought they would make the
dreams go away, but after a while I figured out from all the
questions they asked me that they really wanted to know about my
Santa Claus doctor. It seemed important. After a while going in
just got to be a habit, even though some of the things they did
hurt, too. I guess by then I thought it was normal.
SCULLY
Do you still see these people?
Paul really needs Scully to understand this.
PAUL
When I got older they made a deal with me: so long as I stayed in
contact with them and stayed in the program, they wouldn't have
to take me against my will or affect my memory, and they wouldn't
have to watch me too closely. That meant a lot when I was
sixteen. Plus I had to accept their guarantee that I couldn't
tell anybody.
He gingerly touches a hand between his eyes.
PAUL
It's supposed to stop with the pain; it's never gone all the way
to triggering a siezure before. I really wanted to tell you,
Dana.
SCULLY
I know, Paul. Go on.
PAUL
Agreeing to their terms seemed like the only way to keep my life
my own, under the circumstances. I didn't think it could hurt
anyone else. We never talked about it in my family. Being quiet
seemed the best way, just like calming down and letting it happen
makes the abductions a lot easier: almost nice, like seeing a
friend.
Mulder can't accept an attitude like that.
MULDER
How often do you check in?
PAUL
They have a lab near Washington, too; it wasn't hard to make the
change when I moved here.
MULDER
How often?!
PAUL
After an abduction, or every three months, whichever comes first.
Paul turns again to Scully.
PAUL
Dana, I was in for one of my check-ups when I first saw you. I
had no idea Duane was involved, I didn't know who you were or how
you got there. I thought you were another abductee. They let me
talk to you, I don't know why; maybe they just wanted to know
what you would tell me. I couldn't answer your questions, but you
made me promise to contact your partner. You told me about
Mulder. I said I'd try.
MULDER
What?! I never heard from you!
PAUL
Let me finish. Dana, when they were done with you it had gone all
wrong, and you were dying. It was horrible.
Mulder turns away, not wanting to examine his own memories of Scully on a respirator.
PAUL
They told me my blood might save you, since they'd done similar
work on me, so I agreed to a transfusion. Afterward they took you
away. They said your family would know where you were, so I
assumed that meant Mulder, too. I never knew whether you lived or
died, they wouldn't tell me. When I saw you at Chuck's house....
MULDER
Do they know about you and Dana?
Paul chokes.
SCULLY
Mulder--
PAUL
No, he's right to ask. They called me after the first time you
came over for dinner, Dana. They asked me about both of you. They
wanted me to answer questions, wanted me to get to know Mulder. I
told them I wasn't happy about it, but they weren't giving me any
options.
MULDER
They have used you all your life, and you're "not happy about
it"?!
PAUL
What could I do, Mulder? I was a little kid when it started.
These were adults I trusted, my own grandfather. I swear to you I
didn't know about all this, all I knew was what they did with me!
MULDER
You didn't want to know! Your "doctors" used you to get at the
people in your group: none of them had ever been abducted by
their own government before they met you! And God only knows what
else they'll do to Scully because of you!
Paul can't bear this: he can't deny the truth in what Mulder is saying. Scully is furious.
SCULLY
That's enough, Mulder!
PAUL (distraught)
Listen to him, dammit, you know he's right! I'm sorry for
everything, but sorry isn't good enough. I don't know why you're
all still here.
SCULLY
I'm not leaving you.
PAUL
You should, Dana. I mean it. I'm much more trouble than I'm
worth.
SCULLY
So's Mulder, and he hasn't gotten rid of me yet, either.
CHARLES
Don't argue with her, Paul. The crowbar has yet to be invented
that can pry my sister off a commitment.
Mulder takes Scully aside a second, half apologetic but still angry.
MULDER
I'd better go home and take care of a couple things. See if you
can get Paul discharged, and I'll meet you at the office, OK? And
be careful.
SCULLY
You be careful, too.
Mulder goes out. Charles decides to follow his lead and leave Scully alone with Paul.
CHARLES
I should be getting home, myself. Let me know if there's anything
I can do.
SCULLY
OK.
Charles gives his sister a hug, then turns to Paul.
CHARLES
Take care, Paul. I have a feeling you'll surprise us all a little
more before this is through.
He leaves. Scully takes Paul's hand and they just look at each other a moment, recovering from the recent drama. A nurse comes in.
NURSE
Excuse me, Ms. Scully, I'll have to ask you to go now. Paul's
doctor is here to see him.
Scully looks to Paul with some alarm.
PAUL
It's all right, Dana. I'm surprised it took her this long to get
here. You keep your appointment with Mulder, I'll keep mine with
my doctor, and I'll see you at your place later, if you're so
certain you still want me. Unless you have other plans.
SCULLY
No. No plans.
She bends down and kisses him.
PAUL
Don't worry.
She gives him a small smile and turns to go. In the doorway she passes the woman who must be Paul's doctor, who gives her a faintly amused look as she goes by.
FADE TO:
19. INT: MULDER'S APARTMENT, DAY
Mulder enters. His apartment has been searched; all the Jenness
materials are gone, and the place is a mess. He proceeds into the
living room, surveying the damage. Mr. X steps out of the inner
hallway behind him; he's been waiting for Mulder to get home.
MR. X
Looks like they got here first.
Mulder spins to face him, reaching for a gun which he realizes with an uncomfortable shock isn't there: he left the apartment in too much of a hurry.
MR. X
You're lucky you weren't here, or there would have been even more
of a mess.
MULDER
What are you doing here? What do you know about all this?
Mr. X smiles.
MR. X
I'm the one who got the ball rolling on this one. And right now
I'm the one who gets the prize.
Mr. X raises a small gun and before Mulder can move away he fires: a dart, hitting Mulder in the neck. Mulder staggers back, grabbing at the dart.
MULDER
What...?
MR. X
You need a little rest, Agent Mulder. You've been working too
hard.
Mulder falls and loses consciousness.
FADE TO BLACK.
CUT TO:
20. INT: INTERROGATION ROOM
Water is dumped over Mulder's head and he comes splutteringly
conscious, coughing and retching with nothing left to bring up.
Mr. X is the only other person present, and sets his now-emptied
bucket on the floor. Mulder is tied to a chair in the center of
the room, which is bare except for a table to one side bearing a
tape recorder, Mulder's cellular phone, a pitcher of water and
two glasses, a mini pharmacy and collection of hypodermics, and a
cloth bag. A clock on the wall reads 11:21.
MR. X
If I had known you had such a sensitive stomach I would have used
a different drug.
MULDER
What am I doing here?
MR. X
You're answering my questions.
MULDER
I'm not telling you anything. Where's Scully?
MR. X
You've already told me more than I wanted to know. You're a
complex man, Mr. Mulder. I don't know where Agent Scully is right
now, although I take it she's very happy with Paul Rosario. You
don't like him very much, do you?
Mulder struggles futilely in the ropes.
MULDER
Why are you doing this?
MR. X
You're not as trusting as you used to be, or the special
arrangements wouldn't have been necessary. You don't confide in
me any more.
MULDER
Some friend you turned out to be.
MR. X
I never told you I was your friend. I said you had a friend in
the FBI.
Mulder's cellular phone starts to ring.
MR. X
There she is now. She's been trying to reach you for hours.
X goes over to the table, picks up the phone and brings it back to Mulder.
MR. X
You'd better talk to her, she'll be worried about you.
X pushes the receive button on the phone and positions it at Mulder's face.
MULDER
M--
SCULLY [V.O.]
Mulder, thank God. Where are you?
MULDER
I don't know. But I know I don't like the company.
SCULLY [V.O.]
Are you OK?
MULDER
I don't know yet.
X puts a hand over the receiver.
MR. X
Tell her to pick you up at Jones Point Park in one hour. You'll
be under the tree. She'll be alone.
X removes his hand from the phone and puts it back at Mulder's mouth.
MULDER
Scully--
SCULLY [V.O.]
I'm here. Tell me.
MULDER
Pick me up at Jones Point Park in one hour, alone. He says I'll
be under the tree.
SCULLY [V.O.]
I'll be there.
X hangs up the phone and sets it back down on the table.
MR. X
I appreciate your commitment, Mulder, so I'm willing to offer you
some genuine advice. You have spent far too much time looking for
a champion, a higher power to aid you in your Sacred Quest. My
predecessor was old-fashioned, and his agenda with you was
personal. He believed in the hope of redemption, and he thought
you could do that for him. He should have known better. You have
walked onto a killing field, and anyone who walks with you or
talks with you is fair game, including myself. Pardon my mixed
metaphors, but if you're looking for some white hats out there,
you're going to be sorely disappointed. The truth is never that
simple.
MULDER
Don't worry, you're not the first to break my heart. Who do you
work for? What's in this for you?
MR. X
You and I have a mutual adversary. It's my job to make his work
more difficult. If I can use you against him, so much the better.
X picks up the bag from the table, comes back to Mulder and leans into his face. He doesn't have to be menacing now; he can be simply matter-of-fact, or even almost tender.
MR. X
It's nothing personal, Mulder. Either you become a Player, or you
just keep on being played.
He slips the bag over Mulder's head.
CUT TO BLACK.
FADE IN:
21. EXT: PARK WITH WATER VIEW, NIGHT
Nobody around. Scully's car drives up.
CUT TO:
22. INT: SCULLY'S CAR
Scully anxiously scans for observers, and spots Mulder's body
under a nearby tree. She parks, grabs a bag of supplies next to
her, and jumps out of the car.
CUT TO:
23. EXT: PARK, NIGHT
Mulder is in a heap at the base of the tree, his head uncovered
now, unconscious again: needless to say, he's a mess. Scully
dashes up, feels for a pulse and makes sure he's breathing,
checking for injuries as she goes. Mulder starts to come to with
a groan, and leans away to gag again, still empty.
SCULLY
Oh my God, Mulder...
She gives him room and time to recover, then helps him sit up and lean back against the tree.
SCULLY
Who did this to you?
Mulder weakly lifts his forefingers to make an X. His wrists are raw from the ropes he was tied with; his voice is a croak.
MULDER
Don't ever let me put tape on my window again.
SCULLY
Count on it.
She's been opening her bag, and brings out a sip bottle of something like Gatorade.
SCULLY
You probably need this, if you can keep it down.
Mulder accepts it gratefully, and can speak more easily after drinking.
MULDER
Scully, I was drugged, I don't know what I told him....
SCULLY
Can you get up?
He leans on her heavily and manages to stand, then falls back against the tree, weakly trying to fend off Scully's help as he remembers everything at stake.
MULDER
Where's Paul?
Grim reaction from Scully as she acknowledges the danger Paul may be in--and what he may be planning (we have some quick catching up to do in a minute).
CUT TO:
24. INT: MULDER'S APARTMENT, NIGHT
Scully enters, half-carrying Mulder. The place has been somewhat
straightened up.
SCULLY
They were probably watching; they'd expect me to take you home.
You're in no condition to argue with me.
Scully manages to deposit him gently on the sofa. Her habitual self-control is just about all that's holding her up after the stresses of the last two days.
SCULLY
They got the X-Files office, too. Skinner was waiting for me when
I got there. I should be chewing you out for keeping this Jenness
thing to yourself, but you've probably suffered enough. Our
famous trust isn't worth much if you won't tell me anything 'til
the last minute.
MULDER
You threw Paul at me, and then the whole thing exploded. What was
I supposed to do?
Scully doesn't answer.
CUT TO:
25. INT: MULDER'S LIVING ROOM, NIGHT
Mulder has showered and changed, and is eating from a plateful of
scrambled eggs and toast. Scully sits next to him. The TV is on,
for voice cover in case of bugs.
SCULLY
Apparently they pretty much let him come and go as he pleases. I
hadn't been able to reach you, so we came here--and found this.
He insisted I wait here for you while he made "preparations". He
thinks he can get us into this lab where he goes for his
check-ups. Mulder, I think he's planning some kind of sabotage.
He gave me directions to the lab and said to meet him outside the
rear entrance at 3 AM.
MULDER
What have you been doing in the meantime?
SCULLY
I couldn't just sit here. I called the guys at Lone Gunman and
asked them to hack us some i.d.s, in case Paul's plan doesn't
work.
Mulder is impressed. He knows better than to give her a hard time about it right now, though.
MULDER
What did they say?
SCULLY
They could only get us one: for you.
She gets it out of a pocket and hands it to him, a plastic i.d. card with a magnetic strip on the back.
SCULLY
Frohike brought it over a couple hours ago.
MULDER
I'll bet he did. One of these days you're going to break that
man's heart.
Scully smiles wearily, glad for the offered opportunity to joke a little stress away.
SCULLY
Or some other part of his anatomy. I haven't found a piece of
lumber big enough to get through to him yet. The ten-foot pole
just isn't working.
Mulder grins.
MULDER
I feel better already.
Reaction.
CUT TO:
26. EXT: PARKING LOT OF RESEARCH FACILITY, NIGHT
Scully's car is parked a distance from the entrance. There is no
guard, just a monitoring camera.
CUT TO:
27. INT: SCULLY'S CAR
Scully looks worriedly at her watch (it's after 3:30 now), and
turns to Mulder in the passenger seat.
SCULLY
It doesn't look like Paul is going to make this appointment.
MULDER
He said he'd be coming from the basement, right? I can try this
i.d. and go look for him. If he's not there I'll come right back
out.
SCULLY
Are you sure you're OK?
MULDER
I can walk. This won't take long.
SCULLY
I don't like this, Mulder, it's too easy. Paul said the place is
so covered up officially and access is so limited that they don't
need much on-site security, but we already know they've been
using him.... We could be exposing ourselves to another set of
lies, a nicely faked diversion, or something more dangerous.
MULDER
I don't like it, either, but we don't have many options left if
we want to get anything out of this. Besides, Paul asked you to
come here. He needs our help to get away from the whole thing, if
that's what he's after.
Scully looks away. There's not much she's sure of right now where Paul is concerned.
SCULLY
Go ahead. I'll wait here.
She looks at him again. He shuts up and gets out of the car. Scully watches him walk to the gate, pass the i.d. card through the reader and punch a four-digit code into the adjacent pad. The door opens, and he looks back at Scully before going through.
CUT TO:
28. INT: RESEARCH LABORATORY BASEMENT
Mulder proceeds down a dark hallway. He carefully enters one of
the rooms, but to all appearances it's just a typical lab. No
time to look for more evidence of what's actually being done
here. The hall dead-ends at a machine room housing the furnace, a
sign marking its function ("Maintenance Personnel Only"). Sounds
of something heavy being moved around, and splashing, can be
heard dimly from inside the room. Mulder knocks gently on the
door, not wanting to startle anyone, and steps back against the
wall in case someone's startled anyway. The sounds inside stop,
and after a moment the door opens. It's Paul, a little grungy
from his labors.
PAUL
Mulder. I'm glad it's you. I wouldn't want my buddy on the
custodial staff to find out I copied his key. Come on in.
CUT TO:
29. INT: MACHINE ROOM/FURNACE
Mulder stands aside while Paul douses a large pile of
combustibles he has arranged against the furnace with one last
can of gasoline.
PAUL
I shouldn't have asked her to come. I thought I would see her one
more time, but I can't do it. Some brave things are easier than
others.
MULDER
I told Scully I wouldn't be in here long. You'd better come with
me.
Paul disregards him; he's made up his mind.
PAUL
I've wronged you, Mulder, although you might not know it yet.
Please tell Dana--I'm sorry. I knew I had no right to what I
wanted, but when I saw her again.... I was just being selfish.
MULDER
Selfish? I don't think so, Paul. You gave her something
important: you made her happy. I've never seen her like that
before.
PAUL
You will. You'll even get used to it. Just--take care of her, OK?
MULDER
I don't know. She doesn't like that kind of thing.
PAUL
Do it anyway.
Paul backs away into the darkness near the furnace.
PAUL
And both of you better get away from here fast. Even if the
explosion isn't very big, I wouldn't want you to be here when the
damage control sets in. I've already been too much of a risk.
They'll be after me as long as I'm around; I might as well be in
charge of how and when I die.
MULDER
Paul, you don't have to sacrifice yourself like this. Don't do
this to Dana, she's had enough grief.
PAUL
You're a generous man, Fox Mulder. You know as well as I do that
someone has to stop these people, or at least slow them down a
little. I've been their accessory far too long. (pause) Kiss Dana
goodbye for me.
MULDER
Paul, you know I can't--
PAUL
Do it anyway. Get out of here, Mulder. Let me get this over with.
Paul retreats further into the shadows, waiting for Mulder to leave. Mulder stands in frustration a moment. Realizing he's not up to hauling Paul out by force, he gives in and plunges out the door.
CUT TO:
30. EXT: PARKING LOT OF RESEARCH FACILITY, NIGHT
Scully has gotten out of the car, too on edge to sit inside.
Mulder emerges from the building; when she sees he is alone she
starts to go toward him, but he motions her back, breaking into a
run.
MULDER
We have to get out of here.
SCULLY
What do you mean? Where's Paul?
Mulder takes her by the shoulders, trying to move her back behind the car.
MULDER
He doesn't want us here, Scully.
SCULLY
What's going on? Tell me! Why didn't he come with you?
Before Mulder can answer, the muffled sound of an initial explosion comes from the building, followed rapidly by alarms and a series of larger booms as a chain reaction sets in throughout the heating system.
SCULLY
Paul!!
Scully struggles, almost hysterical with panic and too-sudden loss, but Mulder manages to hold her back.
SCULLY
Let me go!
MULDER
It's too late, Scully. There's nothing we can do. I'm sorry.
Scully continues to take it out on him for a moment, then collapses into grief in his arms. This is not fun for Mulder; he might not be far from tears himself.
MULDER
We can't stay here. I'll drive, OK?
Scully nods numbly, and leans on him as he gets her into the car. He goes around to the driver's side, gets in and gets them out of there fast. PULL UP and watch the car go down the road as Skinner intones a rather corny voice-over. [Normally I think voice-over speeches are just too inherently tendentious and self-conscious to be worth it, but this time it felt better than either just watching them go, or cutting to another closing scene where equally corny and anti-climactic things are said to wrap up; I had fun with the speech.] Perhaps CUT back to inside the car, watching our heroes cope as we listen to Skinner, cutting to an exterior shot of the disappearing car at the close.
SKINNER [V.O.]
Sometimes I think a better title for an Assistant Director of the
Federal Bureau of Investigation would be Office Manager of Futile
Gestures. It is our task to prevent public danger--and if we
can't prevent, to punish. It's supposed to be justice. Sometimes
all we can achieve is the identification of the bodies in the
aftermath. I have seen too many brave,
well-trained, dedicated men and women worn down and broken in the
process of hunting down truths some people don't want exposed,
much less prosecuted, and it doesn't have to be an X-File to be
quietly ushered out of the spotlight. Funny thing is, the truth
doesn't sit still very well; you may think you've caught it, but
it turns out to look very different from what you thought it was,
and it keeps popping up in very strange places. This happens to
you enough times, you can discover your own bottom line isn't
where you thought it was, either. One thing I've learned, from
Vietnam to Washington, is you might get a few kisses goodnight,
but you almost never get your kiss goodbye. The truth may be out
there: but don't count on any comfort from it.
FADE OUT.
Charles' line to Scully at the hospital about the things she's seen is in part a reference to another story kernel of mine, wherein Scully recalls how as a little girl she used to see people who weren't there, and have conversations with them--people who turned out to be geographically or temporally distant family members (mostly dead ones). Her deceased great-grandfather read her to sleep at night for years. It ended when she was about 7, when her beloved granny had a disabling stroke that trapped an active mind in a paralyzed, speechless body--and then granny started showing up at night wanting to talk with her. The frightened young Dana banished her grandmother (and all the other "ghosts"), burying her head under the pillow and screaming until they went away. She had not remembered this for years, since her older brother had stopped teasing her about her "ghosts" when they were teenagers. So Scully, too, in this scenario, has some of the psychic gifts that apparently run in her family, albeit long-unused. Her childhood rejection of the experience, even unremembered, has in part contributed to her skepticism regarding the paranormal, generated by simple fear in the face of what felt at the time like betrayal or attack by a loved one. We have seen her have visions: of her father when he died, of Mulder "on" Boggs in "Beyond the Sea", of Dupre "on" Jack in "Lazarus"; so I'm only elaborating on something the X-Files writers have hinted at themselves.
Charles, of course, was originally Melissa, and her scene with Mulder was a bit different from Charles'. I made the change after Melissa was assassinated on the show (the fiends! That was so unnecessary, and such a waste of an interesting character!); I think the fix worked out OK. It gets pretty lame when I'm trying to skim over the logical failings of the action in Act Four: notably regarding Paul's plan to sabotage the lab, and the ease of our heroes' entry and exit (maybe the bad guys let them get away with it on purpose...). I may still try to punch it up. Sigh: I'm not an action woman! Normally, in life and in reading/writing, I resonate more with emotional and relationship textures than I do over plot--which is why writing X-Files has been good for me: I have to do plot, or it's not an X-File!
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