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Summary: A string of prostitute murders and an old friend of Mulder's from his early days in the FBI lead Scully and Mulder to an unusual group home in Milwaukee, where the foster children have interesting gifts. Spoiler alert: contains brief references to events from seasons 1, 2, and 3. There is kissing in this, but it's not Mulder and Scully, OK?
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: MILWAUKEE MOTEL ROOM, NIGHT
A woman enters, leading by the hand a clean-cut but nervous-looking young man, about age
eighteen. The woman could be over thirty, maybe younger in years but not in spirit. She is a
prostitute, but she has some self-respect; she doesn't look too cheap.
WOMAN (LEAH)
How do you like the place, Charlie?
She goes into the room, dropping her purse on a small table and stripping off her jacket, businesslike.
CHARLIE
It's nice. You're nice, Leah.
She laughs.
LEAH
Oh, I hope not.
She starts to come toward him, but he raises a hand in the air and she stops.
CHARLIE
Wait. Do you want to see something really special?
LEAH
Sure, Charlie. I'm always ready for a treat, aren't you?
CHARLIE
I can touch you without my hands.
She gives him a skeptical, tired look--but her eyes widen as the ends of her hair lift up, as if being ruffled. She flinches as she feels a touch on her cheek; then she looks down at her chest, shifts a little and looks up at Charlie with a knowing smile.
LEAH
Are you like this with all the girls, Charlie?
She starts to lift off the floor. Startled, she struggles.
LEAH
Hey!
CHARLIE
No, don't fight me! It's not good for me to get angry. I want this to be nice. Pretend you're in bed.
Just let me hold you.
He's now "holding" her horizontally at about eye level. She decides to relax for him, and begins to stretch a little in his "touch".
LEAH
You're right, Charlie, this is nice. You're making me tingle all over. I don't know how you do it,
but I don't want you to stop.
Charlie giggles a little.
CHARLIE
Betty wouldn't like it if she knew I was here with you.
Leah eyes him almost tenderly; she's heard this before.
LEAH
Is Betty your girl?
Charlie's smile fades.
CHARLIE
She's supposed to be.
LEAH
Have you ever touched Betty like this?
CHARLIE
I can't touch Betty, not even this way. No one can touch her, it's one of the rules. She gets hurt.
Still at head level, Leah stretches out one hand to Charlie and starts undoing her blouse with the other.
LEAH
Come here, Charlie. You can touch me all you want, and Betty won't ever be hurt.
He comes up to her (she's still floating) and kisses her a little awkwardly; she takes one of his hands and puts it on her skin inside her open blouse.
LEAH
She'll never even know what she's missing, poor thing.
Charlie starts to pull back, and a horrified look spreads over his face, turning to anger as he speaks.
CHARLIE
Oh, she'll know. She always knows!
Leah's body jerks toward the floor, and she looks up at Charlie in alarm.
LEAH
Now don't freak out on me, Charlie! This is supposed to be nice, right?
An invisible fist slams across Leah's face, flinging her body upward again. Charlie stands rigid, his face livid, fists at his sides.
CHARLIE
Shut up!
Repeated blows cast Leah's body around the room in mid-air as Charlie speaks. She gives out a choking scream.
CHARLIE
I'm telling you she'll know! And she will be hurt! And I'll be punished! We always have to be
punished!
Leah's face is bloodied now, and ugly marks are rising on her body. She has passed out and is dangling limply beneath the blows, still floating. A WIND builds in the room, crashing breakables to the floor and against walls. The beating continues.
CHARLIE
You don't know anything, none of you do! Nobody cares about us, nobody wants us, nobody
even knows who we are! Somebody has to pay!
Leah's body slams into a corner and slides to the floor. The wind dies down. Charlie staggers, weakened by his outburst. Leah moans: she's still alive.
CHARLIE (quieter)
I'll make them pay.
He goes to the door and plunges out.
FADE TO:
2. INT: LIVING ROOM OF OLD HOUSE, NIGHT
A fragile-looking, sweet-faced young woman, roughly Charlie's age, sits in a chair under a lamp,
reading (Betty, of course). Something startles her and she puts down her book, gets up and goes
to the door, which faces a staircase in the entryway. Everything here is neat and orderly. A side
table with a phone and notepad on it stands against one wall. Coats and hats hang on pegs by the
door, with boots ranged underneath them on a mat: by style and size they belong to a man, a
young woman, a girl and a boy. An empty peg between the young woman's coat and the girl's
indicates that someone's (Charlie's) is missing. Betty stops and reaches out a hand toward the
door, then draws her hand slowly back, starting to be afraid.
BETTY
Charlie....
She opens the door. Yes, it's him, and he's a mess: it looks like he's been running and falling down and running into things. Tears streak his abject face.
CHARLIE
Betty, I'm sorry....
Betty spreads out her hands toward him as she had toward the door, as if to touch something between them.
BETTY
What have you done, Charlie?
Suddenly she cringes back, and we see FLASHES of Leah, first being "touched", then being beaten.
BETTY
Oh, Charlie, no, not again....
She looks at Charlie in horror and grief and breaks down in sobs, sinking to her knees. Charlie starts to try to touch her but recoils helplessly from her pain.
CHARLIE
Betty, I don't know what to do, I don't know how to stop it!
Betty continues to collapse, curling up on her side on the floor and spasming to the sympathetic impact of the blows she can't keep out of her mind's eye. A younger girl, maybe ten years old, comes down the stairs. She sees what's happening, and freezes.
GIRL (CINDY)
Michael, Michael, come quick! Betty's hurt!
CHARLIE
It shouldn't have to be this way. They had no right to do this to us! They'll be sorry, I promise you.
Charlie looks up at Cindy, then turns and flees again into the night. A gray-haired man comes down the stairs, passing Cindy on his way to Betty. Somehow she can stand his touch, and begins to relax as he holds her. After a moment he carefully lays her down, gets up and peers out the still-open door.
MICHAEL
It was Charlie, wasn't it, Cindy?
The younger girl nods. Michael closes the door.
MICHAEL
Go back to Billy now. I'll make sure Betty's all right.
Cindy nods again and goes back upstairs. Michael's face is strangely expressionless as he goes back to Betty, rocking and soothing her as her pain slowly eases.
FADE OUT.
FADE IN:
3. INT: X FILES OFFICE
Mulder works alone at a desk. He gets up to file something, and a knock comes at the door.
MULDER
Our door is always open!
A good-looking man about Mulder's age comes in, wearing a suit and FBI i.d. tag and carrying an attache.
MAN (MEYERS)
They told me I might find you lurking down here.
Mulder turns to see him, and is happily surprised.
MULDER
Hey, Tom!
They have a slap-each-other-on-the-back guy hug.
MULDER
It's been a long time.
MEYERS
Too long. I heard about what happened to Reggie. I'm sorry that had to be on your watch,
Mulder. He was a great man to start out under. I was stuck on a case in Reno, I couldn't come
back for the funeral.
MULDER
That's OK. What are you doing here? I thought you were Mr. Peripatetic, the hot-shot
investigator on everybody's A-list.
MEYERS
Can't a guy just want to see an old team-mate?
MULDER
People don't usually come all the way down here just to make a social call.
MEYERS
OK, OK, you got me. I'm working on a case in Milwaukee that's got me stumped. The way it's
going made me really wish I had Fox Mulder on my team again. I thought I'd take a chance and
see if it's just weird enough to hold your attention. Will you take a look?
Mulder hesitates a second, then sits down.
MULDER
All right. What have you got?
Meyers opens his attache and hands a file to Mulder.
MEYERS
At first glance it just looks like your garden variety serial killer. Three prostitutes battered and
tortured over the last ten weeks, left for dead. The composite comes from witnesses who saw the
victims with their last known clients before the assaults.
Mulder looks at the artist's reconstruction: it's clearly Charlie.
MEYERS
They describe him as young and polite, but nervous. The age is a little out of the standard
profile, but it's not unheard of. Here's where it gets weird. The last victim survived the attack.
Meyers reaches over and fishes a pre-attack picture of Leah out of the file to show to Mulder.
MEYERS
Her name's Leah Hendricks. She's been working in the area for about six years. She says the guy
never touched her with his hands: he lifted her in the air, she felt like she was being touched all
over, and then he got angry and beat her to a pulp--all without lifting a finger.
Mulder looks at pictures of the motel room after the attack, and of Leah in the hospital. Ouch.
MEYERS
How she managed to get to the phone and call 911 with those injuries I'll never know. She
confirmed the composite, said his name was Charlie. It's hard for her to talk now, though, they
had to wire that jaw. Strangely enough, her testimony would explain a few peculiarities in the
evidence at the crime scenes. (pause) This is the kind of thing you used to do with your eyes
closed, Mulder. Are you interested?
Before Mulder can answer, Scully walks in, carrying a folder. Mulder gets up.
MULDER
Scully, this is Agent Tom Meyers. We worked together out of the Academy under Reggie
Purdue.
Scully and Meyers shake hands.
SCULLY
I was lucky enough to meet Agent Purdue. He called us in on a case that had Mulder's name on
it. His death was a great loss.
MEYERS
He taught us a lot. It's hard to believe somebody like him could just not be there any more.
Mulder remembers himself, and introduces Scully.
MULDER
Meet my partner of the paranormal, Special Agent Dana Scully, M.D.
Scully decides to ignore this identification with the "paranormal", and turns to Mulder.
SCULLY
I have an appointment to go to. Could you keep an eye out for that fax on the Corbin case for
me? Thanks.
She lays down her folder and turns back to Meyers.
SCULLY
Good to meet you, Meyers.
MEYERS
My pleasure.
She smiles and goes out. Meyers is impressed, looking after her for a moment.
MEYERS
Oh, I'm wounded. Let me count the ways! You work with her? She's gorgeous! How can you
stand it?
Mulder turns back to putting his files away.
MULDER
She's my partner. And my friend.
MEYERS
That never stopped anybody before.
MULDER
That never stopped you before. I'm surprised you haven't been brought up on harassment charges
by now.
MEYERS
Hey, I've had no complaints.
Mulder just shakes his head.
MEYERS
Is she seeing anybody?
MULDER
Not that I know of.
MEYERS
There isn't anything between the two of you, is there? I wouldn't want to step on anyone's toes.
MULDER
I told you, she's my friend. But don't get your hopes up. Scully's not a big believer in free love.
MEYERS
You'd be surprised what people will believe in, Mulder, given half a chance. Isn't the fact that
you have this office proof of that? Somebody believes in you, or you wouldn't be here.
MULDER
Yeah, even Santa Claus believes in me, Tom.
Pause.
MEYERS
So will you help me out on this thing or what?
CUT TO:
4. EXT: PORCH OF HOUSE, DAY
Scully hesitates at the door, eyeing a wooden sign next to the doorbell: "Jerry Holzman, Psychic
Readings". She takes a deep breath and knocks. The door is opened by a man in his late
30's-early 40's, who gives her a hug.
MAN (JERRY)
Dana! I'm glad you made it.
SCULLY
Hi, Jerry.
JERRY
Come in, come in.
Jerry starts to usher her in.
CUT TO:
5. INT: DINING ROOM, DAY
Scully is seated at a wooden dining table in a warmly decorated home. Jerry pours a cup of tea
for her from a teapot on the table, then takes a seat across from her.
JERRY
I appreciate you taking time off from work to see me like this. Your sister meant a great deal to
me. She would have wanted me to do this sooner, but I needed more time.
SCULLY
I'm just sorry we never met before the funeral. I was not exactly open to the idea of Melissa
being a psychic, much less having a partner in the business.
Jerry smiles.
JERRY
She wasn't super-tolerant of all your choices, either. But she got over it. She was fiercely proud
of you, Dana. (pause) Were you able to bring the things I asked for?
Scully nods and reaches for her purse on the seat of the chair next to her.
JERRY
Melissa worked with people, but I'm only good with inanimate objects. She liked to say it was a
typical gender division.
Scully takes a man's tie out of her purse and hands it to Jerry, looking a shade guilty or defensive.
SCULLY
He takes them off at work sometimes and leaves them there. I didn't have to go snooping in his
closets.
Jerry is already lost in concentration, eyes closed as he fingers the tie. He smiles.
JERRY
He hates ties. The word "hangman" comes to mind. The world would be a better place if they
could all be blasted into orbit.
SCULLY
Can we add pantyhose to that payload?
Jerry doesn't answer; his smile fades as he explores further with the tie. Scully watches uneasily, not entirely comfortable with this procedure. Jerry sighs and opens his eyes, laying the tie on the table.
JERRY
OK. And the other one? Something of yours, that he has handled?
Scully takes off the cross from around her neck. Jerry closes his eyes again as he takes it.
JERRY
You've had this a long time. It's practically grown up with you, hasn't it?
SCULLY
My Mom gave it to me for Confirmation. I was fifteen. (pause) Mulder kept it for me while I
was missing two years ago.
Jerry is suddenly startled by something.
JERRY
He didn't just keep it for you, he wore it.
He snaps his eyes open to look at her.
JERRY
Did you know that?
Scully is startled by this news, too.
SCULLY
No.
Jerry concentrates some more in silence, keeping the rest to himself (Mulder also happened to be wearing Scully's cross when he had sex with Kristen the vampire wannabe in "3"). He finishes, and looks up at Scully.
JERRY
All right. I think I'm ready. May I hold this while we talk?
Scully nods.
JERRY
There are some things I know about you and your partner because I was someone your sister
trusted, things I wouldn't have a right to know otherwise. I apologize for that. I feel more
strongly about privacy than she did, maybe because I only get people's feelings indirectly. It was
more intense, more imperative for her.
SCULLY
I know.
JERRY
Missy had a feeling something was going to happen to her, and she made me promise to do this
with you. She had some specific questions to ask you. Is it all right if I start with those?
SCULLY (tense)
Go ahead.
JERRY
When you were in the hospital two years ago, Melissa was certain you were leaving this life, that
you had made your peace and let go. She respected that, and tried to help your mother and your
partner accept it. She wanted to know: why did you come back?
Scully hesitates.
SCULLY
I told her about how Dad came to me, and told me it wasn't my time yet; and about a nurse
watching over me who said the same thing.
JERRY
But that wasn't it. They weren't what changed your mind.
Scully sighs, thinking back somewhat painfully.
SCULLY
When Mulder came and waited with me, I could see--I don't know. The whole time I was in
coma, I didn't feel anything. Peaceful, quiet, just watching, but nothing touched me, not even
when Missy contacted me with that crystal of hers. I don't think it really occurred to me that I
was dying, I just felt like I was getting ready to go somewhere. But when Mulder was there--my
God, something had almost torn him apart. And it mattered to me. I cared. I suddenly knew I
couldn't leave yet. It's funny: I was the one lying there in a coma, and all that worried me was if
Mulder was going to be OK.
Jerry looks thoughtful.
JERRY
Has Mulder told you what he was going through that night?
Scully shakes her head.
JERRY
He gave Melissa quite a scare. She went to his apartment to give him the doctor's report that you
might be passing at any time, because he wasn't answering his phone and the machine was off.
When she got there he was sitting alone in the dark, and she could have sworn he was waiting
for someone. She said there was killing in his heart: he was wearing it around him like the only
thing that could keep him warm.
SCULLY
You shouldn't be telling me this. If Mulder wanted me to know about it, he would have told me
himself.
JERRY
He refused to come see you, Dana. There was something else he had to do, something more
important.
Scully shunts the more serious issues aside, momentarily forgetting her standards of discretion as she remembers her sister, smiling wryly.
SCULLY
I almost wish I was there. She must have chewed him out big time.
JERRY
Actually, she did. Telling me the story a few days later made her furious all over again. She told
him to drop the cynical paranoia crap and act on something positive for a change. All the
vengeance in the world wasn't going to bring you back, and this was his last chance to tell you--
Scully doesn't want to hear it.
SCULLY
--tell me what?! For God's sake!
JERRY
Dana, this isn't just your pushy, opinionated big sister talking. I'm going on evidence now, or I
wouldn't be pursuing this. What that man feels for you--
SCULLY
--is his own business! Did it ever occur to you that people don't want you to know what they
feel?!
Jerry understands her anger, and gives it room.
SCULLY
I'm sorry. It's just...if he doesn't say anything, why should I have to think about it? I wouldn't
want him to, anyway--working with him is claustrophobic enough as it is. Even if you're more
sure of this than you are of your own birthday, it's Mulder's business, not yours. They're his
feelings: he's got prior jurisdiction.
JERRY
Dana, this isn't something trivial. Your partnership is about more than work, and I think you
know that. Melissa felt very strongly that you need to acknowledge the truth.
Scully laughs, deflecting again.
SCULLY
She's the one who should have been with Mulder. They both think everybody has to have the
truth at all costs.
JERRY
But she didn't love him.
Scully bites her tongue against another angry outburst, and takes a moment to compose her reply.
SCULLY
OK. I love Mulder: the way I loved my sister. He is a close friend and colleague whom I trust
and respect, no matter how much we disagree on some things. We've been through a lot together.
Why in God's name can't that be good enough?!
JERRY
I don't know. You tell me.
SCULLY (trying hard not to be angry)
Lay off, Jerry. If you want to play matchmaker, you can go visit Mulder yourself. It's not going to
work with me.
JERRY
That's not what I'm trying to do. I know as well as you do that there is more than one way to care
about someone. Sometimes with your sister I felt we were so close that adding "romance" to our
bond would be redundant, like what you said about claustrophobia. We talked about it, actually,
but decided against changing anything. In our work we have to keep a special balance.
SCULLY
Then why do this to me now?
JERRY
When Melissa left us, I lost more than I knew at first. Part of me went with her, Dana. The part
of me that should have been with her all the time. Yes, people can be the truest of friends
without being the loves of each other's lives. But there was something more at stake in our
partnership, and we refused it because we distrusted the unknown. In our profession one
generally considers that a mistake.
SCULLY
Come on, Jerry. It's hard enough just being Mulder's friend. Besides, even if I were interested, it's
not like he's the world's most eligible bachelor. For one thing, his taste in videos would make
your skin crawl. There are parts of his life I wouldn't want to share! And the man is obsessed.
He's already devoted to something; there isn't room in there for much else. It hurts to watch him
try so hard and get so little, and it's frightening that he wants it so badly--especially when I'm the
one telling him he can't have it and he has to stop looking and go home.
JERRY (gently)
What are you so afraid of, Dana?
SCULLY
Afraid? What I have is good; we're a great team. Why should I want any of that to change?
Jerry looks at her, his face shifting under the weight of his own loss. He takes Scully's hand across the table and drops the cross onto her palm, then lays his free hand over hers.
JERRY
Because you want him. And he wants you.
He lets her hand go. Scully looks down at the cross a second, then back up at Jerry, choosing firm denial from among the many responses presenting themselves.
SCULLY
Listen to me, Jerry. It's not going to happen. Even if what you're trying to say is true, and even if
I wanted it, the Bureau doesn't let couples work together. The work is the only reason we're
together. It's what our entire relationship is based on: investigating X Files cases and what they
represent. When they shut us down, that's still what we were about. That's all he cares about, it's
his life's work, and that's fine. Just leave it alone. Just leave me alone, OK?
Jerry looks at her sadly, accepting this statement only because he has to.
FADE TO:
6. INT: PICKUP TRUCK, DAY
Charlie is in the passenger seat, wearing the same clothes in which we last saw him and not
looking much better for wear; he doesn't have anything else with him. A middle-aged woman is
driving the truck down a rural Wisconsin road. The engine doesn't sound too healthy. She comes
to a stop at an intersection.
WOMAN
Well, Charlie, this is where I turn off. You sure you'll be OK?
CHARLIE
Yes, ma'am, thank you. I'm almost home now. I hope your truck doesn't give you any more
trouble. It sounds like you've got a transmission problem.
WOMAN
She's never failed me so far. You go on, don't worry about me.
Charlie gets out of the truck, the woman watching him with some pity: he's looking pretty scruffy. She thinks of something just as Charlie is closing the door:
WOMAN
Hold on a second--
She leans over to the glove compartment, gets out a candy bar, and holds it out for him.
WOMAN
I always keep a backup, just in case. I think you could do with it more than I could today.
Charlie takes the candy gratefully.
CHARLIE
Thank you, ma'am.
The woman smiles, pleased with her good deed.
CUT TO:
7. EXT: RURAL WISCONSIN ROAD
Charlie watches as the woman starts to pull out--and her engine stalls. As she tries to get it
started again, Charlie closes his eyes and concentrates, lifting a hand a little in the air: the engine
turns over, and the woman waves goodbye as she goes off down the road. Charlie sighs and
starts walking in the opposite direction, unwrapping the candy bar.
FADE OUT.
FADE IN:
8. INT: X FILES OFFICE
The lights are out as Meyers shows Scully and Mulder slides of his victims and crime scenes.
MEYERS
All of the attacks took place in the early evening. Injuries were extensive for all three victims.
With only the first woman was there evidence of recent intercourse, although it might not have
been him. She was found dismembered, literally torn apart. Leah Hendricks' survival ranks close
to the miraculous.
MULDER
Did all of the crime scenes look like that?
MEYERS
Yeah, like a storm went through. The guy's got a lot of energy.
Meyers turns off the projector and flips on the lights.
SCULLY
Did the bodies carry an electro-static charge? Any abnormal post-mortem muscle reflex?
This takes Meyers a little aback; he'd been saving that bit for last, she's stolen his thunder.
MEYERS
Yes, actually, that was the really strange part of the autopsy reports. The second body was still
warm two days later. And there were no burns or lesions to help explain the electricity. How did
you know?
Scully exchanges a glance with Mulder.
SCULLY
We've seen things like this before.
MEYERS
So what am I dealing with, UFOs?
SCULLY
Nope, I'm afraid it's a little closer to home.
MULDER
Would you believe, psycho-spiritual energy?
SCULLY
Ghosts, Meyers. Poltergeists. Carrie at the Prom. Your own piece of Hollywood in the real
world.
MULDER
Theoretically, people who can manipulate electro-magnetic fields to produce kinetic force,
consciously or otherwise--sometimes from beyond the grave.
SCULLY
Hard to prove, and harder to believe, but there are times when an extremely hypothetical
explanation is the best we can do. (pause) Do you still want us to work with you?
Meyers thinks a second, assessing the X Files team.
MEYERS
Yeah. It'll be worth it just to see what you guys come up with, and you might even catch my
psycho for me. (pause) I have some business I need to catch up on while I'm here. Can I leave
these files with you, and we'll go to Milwaukee in the morning? Skinner already OK'd it, if you
want the job.
SCULLY
You don't waste any time, do you, Meyers?
MEYERS
I just like to make saying "yes" be as attractive as possible. Make people happy, that's my motto,
it pays you back every time. I'll see you tomorrow, then.
He goes out. Scully sits down with Meyers' folders, looking for the coroners' reports.
SCULLY
Your friend is an interesting guy.
MULDER
Interesting?
SCULLY
Well, for one thing, he didn't run screaming when we did our X Files routine.
MULDER
Tom's a no-holds-barred kind of guy. He'll try anything once. He just might not stick around very
long afterwards.
Scully isn't really paying attention; she doesn't get this veiled warning about Meyers' intentions.
MULDER
Forensics called about the Ogden poisonings. Can I pick you up any discarded body parts while
I'm out?
SCULLY
No, thanks, I don't think I'm missing anything essential.
Mulder leaves. A little later Meyers returns, and sees Scully is alone. He watches her a moment; absorbed in what she's looking at, she doesn't notice him yet.
MEYERS
Excuse me, is Mulder still around?
She looks up, not displeased to see him.
SCULLY
No, he had to go over to forensics. Can I help you with something?
MEYERS
Well, actually.... I'm a little rusty in D.C. these days. I was hoping he'd join me for dinner and we
could maybe do some catching up.
SCULLY
I'm sure he'd jump at it. Do you want me to call him?
She starts to pick up the phone; Meyers steps closer.
MEYERS
Don't bother him. Do you think you could be my guide tonight instead?
She looks at him, smiling as she thinks about it.
SCULLY
Sure, I'm not doing anything. I can grill you on what Mulder was like before the X Files bit him.
MEYERS
Oh, that'll be quite a story. You've got to be pretty interesting yourself, if you're his partner now.
I'll have to thank him for going to forensics and giving me the chance to get to know you.
Reaction: she's glad, too.
FADE TO:
9. INT: RESTAURANT
Nothing fancy. Scully and Meyers are still in their office clothes, and are now about mid-way
through their meal. A little boy is having a fit a few tables away, as his wearily embarrassed
parents struggle to quiet him; Scully turns to Meyers with a wry smile.
SCULLY
They say your personality is fully formed by the time you're five. Pretty scary thought, isn't it?
MEYERS
I don't know. I'm a big believer in the idea that who you are gets set pretty early: what you really
liked to do when you were eight years old plays a big part in what you're good at as an adult.
SCULLY
What about you, Tom? What did you like to do when you were eight?
He smiles, noticing that she used his first name.
MEYERS
I really liked to go in the kitchen with my Mom and her sisters, and just listen to them talk.
Drove my Dad crazy. He thought I ought to be watching football or something, but what really
interested me was what people are feeling and why they act the way they do, and men don't sit
around discussing that the way women do. Not that men don't talk, but it's not the same kind of
personalized analysis, you know? I think it makes me a better agent: people like to talk to me.
SCULLY
Well, it sure works on me. I haven't talked like this in ages. (pause) When I was eight, I cared
about saving the snakes my brothers liked to torture to death with BB guns: trying to get hold of
the great mysteries of life and death, I guess. In a way that's what I'm still doing, running with
Mulder after mutants and UFOs. (pause) People think we're crazy, you know.
MEYERS
They shouldn't. Fox Mulder is the most committed man I know. They called him "Spooky"
because he was so damn smart, so good at knowing what the bad guy was going to do next. If he
wants to use those gifts in the X Files, more power to him. (pause) It looks like he's got a great
partner for it. You two are a good team, I can tell.
SCULLY
I'm his scientific conscience. I keep him in line. That's the theory, anyway.
MEYERS
You have to feel for the guy. He's given himself quite a cross to bear, hasn't he?
Meyers is trying not only to sound out any feelings Scully might have for Mulder, but to frame those feelings as comradely and protective, even maternal--not potentially romantic. It's working.
SCULLY
It's not always easy. You know him: he's so intense. I worry about him sometimes. (pause) Kind
of makes you wonder what Mulder liked to do when he was eight, doesn't it?
They share a smile.
CUT TO:
10. INT: SCULLY'S LIVING ROOM
Scully and Meyers are comfortable on her couch with glasses of wine, laughing about
something. Meyers puts his glass down on the coffee table. Then he gets quiet, an almost pained
expression on his face, and reaches out a little hesitantly to touch Scully's hair.
SCULLY
What is it?
MEYERS
You'll laugh at me. I want to kiss you so bad it hurts.
Scully sets down her wine now, too.
SCULLY
I'm not laughing.
He moves his hand to caress her face and half-whispers:
MEYERS
You are so beautiful, Dana.
They come together for a small, gentle kiss, and he pulls back a little to check her response before going in for the real thing: a long, slow, deep kiss, the kind of kiss you hope never ends even while your whole body is engaged in the thought of what you might do next. Meyers is an expert, and the effect is not lost on Scully. A little overwhelmed, she has no initial objection when Meyers carries his kisses to her ear and down her throat. Then he misfires:
MEYERS
Dana, let me make love to you.
SCULLY
What?
Now he's working down into her blouse.
MEYERS
I want to make love to you.
Scully's reaction time is a little slow, different reflexes fighting each other. [Realistically, Tom wouldn't move this fast; he'd wait 'til she was more deeply hooked on the arousal and had gone far enough consensually that it would be difficult to turn back; but we can't take the screen time.]
SCULLY
Tom, I just met you today. People don't go from "Hello, my name is Dana" to Twist and Shout in
less than twelve hours. At least, I don't. I don't know you.
He pulls back as she starts to try to lever him up.
MEYERS
Didn't you have a good time tonight?
SCULLY
Yes, but....
MEYERS
Don't you like this?
He comes in for another kiss, but she manages to persuade herself to push him back.
SCULLY
You're very good at it. But that doesn't mean I want to get intimate with the rest of you right
away.
He takes one of her hands in both of his, the very picture of earnest tenderness. And he is truly sincere: in the Book of Tom, physical intimacy is easy and delicious, a renewable resource, like a bowl of ice cream. The flavor doesn't matter, he likes 'em all.
MEYERS
Dana, this is the most beautiful thing human beings can do together. There's nothing wrong with
giving yourself a little joy.
SCULLY
You must not have heard me, Tom. (pause) It's time for you to leave.
FADE TO:
11. INT: X FILES OFFICE, NEXT MORNING
Scully and Mulder gather case materials for Milwaukee.
SCULLY
So are you glad to be working with your old colleague, Mulder?
MULDER
I suppose. He's a terrific investigator; he doesn't let anything stop him.
SCULLY
Oh?
MULDER
He's got his kinks, though. I mean, the guy goes through women the way most of us go through
socks.
SCULLY
I wish you'd told me that yesterday. I went out with him last night.
Uh-oh. So how do I ask her if Tom got lucky?
MULDER
Did you have a good time?
SCULLY
Dinner was great. I really enjoyed talking with him; I was telling him things about my life that I
hadn't thought about in years. It was so nice I didn't want it to end, so I invited him in when he
took me home. That was lovely, too, but it stopped being fun when he wouldn't take no for an
answer and I practically had to put a gun to his head to get him to leave.
Scully is genuinely upset about this; she's not editing herself very well with her next words.
SCULLY
Jesus, Mulder, was it so wrong, asking him in like that? If you were in his place...no, that would
be different, we know each other too well. If it had been you, I probably wouldn't have kicked
you out. I mean, if you just met a woman, and you liked her enough to ask her out; she had a
good time with you and invited you in to her place; and she liked it when you kissed her but she
didn't want to go the rest of the way--would you be upset? Would you pressure her?
Mulder hesitates, not sure what to do with this topic--and really not sure what to do with a certain suggestion Scully just made.
MULDER
I'm still at the part where you didn't kick me out. (pause) No, I wouldn't pressure her. I'd want to
talk a while, keep my options open. I'd be disappointed, a little frustrated, but I wouldn't push.
Scully is wishing she hadn't brought it up.
SCULLY
Never mind. I'll just remember not to enjoy a man's company ever again. It's too bad, though,
Mulder: your friend Tom is a great kisser.
CUT TO:
12. INT: FBI HALLWAY LINED WITH LOCKERS
Mulder throws Meyers against a locker.
MULDER
You bastard!
MEYERS
Hey, calm down! All I said was she was worth it. I didn't get anywhere--what's the big deal? I
thought you said there wasn't anything between you two.
MULDER
I am not going to watch you do to Scully what you've done to every woman you've bragged about
since the day I met you! Is that clear?
MEYERS
I think that's up to her, not you. Just cool it, Mulder! I'm a man of action, you know that.
Videotape may be good enough for some people, but I prefer the real thing.
Mulder releases him in disgust and starts to walk away. Scully suddenly appears in the hallway intersection.
SCULLY
I heard shouting. What's going on?
Mulder looks away, not ready to answer. Meyers shrugs.
MEYERS
Nothing. I'll see you two at the airport, OK?
He goes away down the hall.
FADE OUT.
FADE IN:
13. INT: LIVING ROOM OF CHARLIE'S AND BETTY'S HOUSE
Betty is sitting on the sofa with a large book in her lap, Cindy on one side of her and a boy
Cindy's age (Billy) on the other. The younger children sit close enough to see the book, but do
not touch Betty. FOCUS on the open pages of the book: this is not a story book but a molecular
biology textbook. Betty points to diagrams of a DNA strand, before and after a mutation.
BETTY
So what happened here?
BILLY
There's a C nucleotide where there should have been a T.
CINDY
The DNA made a mistake when it replicated. Now it's going to pass on that mutation.
We hear the front door open and close, and Michael comes in. Betty gets up.
BETTY
You two go upstairs--we'll join you in a minute.
Billy and Cindy exit.
MICHAEL
What is it, Betty?
BETTY
Michael, he hasn't come back in two days. We have to do something!
MICHAEL
It isn't like him to stay away so long. I don't like it, either.
BETTY
What if he hurts someone again?
MICHAEL
You know what I'd have to do, Betty. He couldn't stay here.
BETTY
And I can't stay without him. I love him, Michael.
Michael smiles and touches her cheek.
MICHAEL
That's good, Betty.
BETTY
We can't just wait like this. The last woman he hurt, she's still alive. Maybe I can help her.
MICHAEL
I don't want you to try. It would cost you too much.
BETTY
I don't care! If Charlie's hurting people, we have to make up for it somehow. We shouldn't even
be here--we can't just hide and do nothing!
MICHAEL
Yes, we should be here. It's very important, you know that. What we need to do now is to help
Charlie.
BETTY
Charlie's not the only one who needs help!
Uncharacteristically angry, Betty storms to the door, grabs her coat and goes out. Michael does not try to stop her but watches her go, his face thoughtful.
FADE TO:
14. INT: AIRPORT TERMINAL
Meyers is waiting at the gate, reading a magazine. Scully and Mulder come up. Meyers gets up
to greet them, knowing he has some things to smooth over.
MEYERS
I was starting to think you might have changed your minds.
OK, let's go for dry and distant.
SCULLY
We still have to catch your psycho for you, remember?
MEYERS
You'll run circles around me, I'm sure. I'll probably even give you credit for it.
MULDER
What a guy.
The announcement for their flight is made, and Mulder steps forward to get in line for boarding. Meyers stops Scully with a hand on her arm to speak semi-privately.
MEYERS
Dana, I owe you an apology for what happened last night. I haven't connected with someone like
that in a long time, and I guess I just let my guard down.
Yeah, right. And the Pope wears purple garters, too.
SCULLY
Forget it, Meyers. We have a job to do. As far as I'm concerned, it didn't happen. And it won't
happen.
She shrugs his hand off her arm and pushes past him to join Mulder, who has turned to keep an eye on them.
CUT TO:
15. INT: MILWAUKEE HOSPITAL
Meyers leads Scully and Mulder down a corridor.
MEYERS
There were a lot of bones broken; she's mostly plaster now. They keep her pretty medicated for
the pain--she may not be very responsive.
They reach Leah Hendricks' room and go in.
CUT TO:
16. INT: LEAH HENDRICKS' HOSPITAL ROOM
Leah has casts on one leg (in traction); her right arm, shoulder and clavicle; left wrist and
forearm. Her left arm also bears an IV drip. A broken nose has been reset, her broken jaw is
wired shut, her torso is wrapped for broken ribs. The ugly bruises on her face are beginning to
heal. She's asleep. Scully goes to the bed and starts to study Leah's chart. Mulder goes to the
head of the bed to look at the victim's face; Meyers hangs back (he's seen this already). Leah
wakes up, sees Mulder and makes a startled sound.
MULDER
I'm FBI Agent Fox Mulder. This is my partner, Dana Scully. We're here to investigate your
beating and the deaths of two other women. Sorry to disturb you.
Leah looks to Scully and back at Mulder, sees Meyers also, and grunts a resigned consent, closing her eyes. Scully comes around the bed to stand next to Mulder.
SCULLY
I know this is hard and you're in a great deal of pain, but it's important that we understand what
happened to you. You told Agent Meyers that this man Charlie lifted you into the air without
touching you, is that right?
Leah turns her head away, then nods against the pillow.
MULDER
We've worked with cases like this before. Did you feel a tingling, like an electric current?
She looks at Mulder in surprise, and nods again.
SCULLY
No one can say you made this up, Leah.
A nurse comes in and goes directly to Leah, ignoring the Feds in the room as she/he gets out a rectal thermometer. She/he starts to pull the privacy curtains around Leah's bed, then addresses the agents.
NURSE
You'll have to leave now. I need to take Ms. Hendricks' temperature.
Leah gives a muffled laugh as the trio goes out.
CUT TO:
17. INT: HALLWAY OUTSIDE LEAH'S HOSPITAL ROOM
Meyers faces Mulder and Scully outside the door.
MEYERS
If you guys don't mind I'll go down to the waiting room and get some coffee. I'll see if Hendricks
has had any other visitors.
Mulder and Scully let him go without comment. Scully looks back in Leah's direction, shuddering a little.
SCULLY
I'm beginning to think that men and women just shouldn't be left alone together.
MULDER
Wait a second, you're alone with me all the time.
SCULLY
That's different. I work with you.
MULDER
That doesn't make me not a man and you not a woman.
SCULLY
No, but I trust you. You're my partner.
Neither of them notices the shy approach of Betty; she stops a moment, trying to decide how to interrupt them.
MULDER
Acquaintance rape, Scully: shouldn't I be your biggest threat?
SCULLY (not liking this line of questioning)
You probably are, Mulder! I'll never know what goes on inside your head, and that's probably a
good thing!
Betty picks this moment to come forward.
BETTY
Excuse me, is this Leah's room? The lady who was hurt so badly?
SCULLY
Are you family of hers?
Betty shakes her head. Mulder gets out his badge.
MULDER
We're here to investigate her beating. FBI.
Scully displays her badge as well. Betty's eyes light up at this confirmation of who they are.
MULDER
May I ask how you knew about this? The victim's name and location have not been publicized.
BETTY
Oh, I'm so glad you're here. You see, I--I know who did this to her.
Before they can ask her what she means, the nurse comes out. Betty looks anxiously into the room.
NURSE
You can go in now. But please, don't try to make her talk. We're having a hard enough time
keeping her pain down.
The nurse goes off down the hallway. Betty starts to try to go into the room, but Mulder puts up a hand to stop her; she pulls back to avoid the touch.
MULDER
Do you know where he is?
BETTY
Please, can we go in? I don't want to talk about this in the hallway.
Scully and Mulder look at each other, then Scully gestures for Betty to go in ahead of them.
CUT TO:
18. INT: LEAH'S HOSPITAL ROOM
Betty moves about halfway to Leah's bed, then stops. Leah appears to be asleep again.
BETTY
Oh, I'm so sorry.
She shakes herself and turns back to Mulder and Scully.
BETTY
His name is Charlie. But you know that already, don't you? I'm Betty. We grew up together. We
live in a group home here in Milwaukee now with two other kids.
SCULLY
How did he do this to her?
Betty turns back toward Leah and moves a little closer.
BETTY
Charlie is special. I guess I am, too. We're not used to the city. It's been harder on Charlie than it
is for me. I don't go out very much; he sees more of it than I do.
She turns again to face them.
BETTY
We hadn't been here very long when the trouble started. He couldn't concentrate any more, and
he just got so angry. He was scaring all of us, and then one night he didn't come home until
really late, and.... That was the first one. I wish I'd never seen it.
MULDER
Seen it? Were you there, too?
BETTY
Oh, no. Afterwards, when he came home. That's how I'm special: Charlie can move things, I can
see things. (hesitates) Michael would probably say I shouldn't be telling you.
SCULLY
Who's Michael?
BETTY
He takes care of us. Our guardian.
Betty is distracted, looking at Leah.
BETTY
Please, I need to try something. I might be able to help her.
She moves in next to the bed, takes a deep breath and closes her eyes, then puts her hands out into the air over Leah's body. She flinches as her hands travel in the air, feeling out Leah's pain; then she stands still, hands tight over Leah's center. Her head slowly tilts back. Leah stirs and moans a little. Betty echoes Leah's moan and staggers, starting to collapse; Mulder moves to catch her, supporting her from behind. Betty screams, and we FLASH on Betty's nonlinear impressions from Mulder's psyche, e.g.: Samantha being abducted, the aliens coming for him in Puerto Rico, the military wiping his memory in "Deep Throat", Mr. X executing the guy at the hospital; the video from his first shoot-out with Barnett in "Young at Heart", being shot by Boggs' accomplice in "Beyond the Sea", the alien bounty hunter asking him, "Can you die now?" in "End Game", the Wild Woman from "Jersey Devil" trying to tear his lungs out; grainy "adult" video, kissing Phoebe in "Fire", kissing Kristen the vampire wannabe; Scully in a coma on the respirator, the armed face-off with Scully in "Ice", apprehending Tooms together after he attacked Scully in "Squeeze", Scully breaking down in his arms after her ordeal in "Irresistible", Scully showing him her mosquito bites on their first case; a golden image of Scully laughing in a shower of light (the Scully images simply indicate how important she is to him, with their edge of attraction and special feeling, none of which is news).
Betty breaks away from Mulder and staggers back, still screaming. With impeccable but plausible timing, Michael appears in the doorway and goes immediately to Betty, taking her in his arms as he looks accusingly at Scully and Mulder.
MICHAEL
Who did this? Betty is not to be touched!
A strange statement from a man embracing her himself. Betty leans against Michael with a hand to her head, then looks up between Mulder and Scully in amazement, and raises a hand to point shakily towards Scully.
BETTY
You....
SCULLY (to Michael)
You must be Michael.
Michael straightens, helping Betty stand.
MICHAEL
Yes. Forgive me for shouting. I need to take Betty home now.
SCULLY
Just a moment.
She steps forward, fishing in a pocket, and hands the dazed Betty a card. Michael allows this.
SCULLY
This is a number where you can reach me. My name is Dana Scully. OK?
Betty nods, and Michael lets her put the card away in a pocket. He takes Betty out, her head against his shoulder. Scully turns to the stunned Mulder.
SCULLY
What was that all about?
MULDER
I don't know.
Leah stirs in her sleep and sighs, an almost happy sigh, sounding almost comfortable.
FADE OUT.
FADE IN:
19. INT: THE GROUP HOME LIVING ROOM
Betty confronts Michael, Scully's card in her hand.
BETTY
Michael, we have to help them. Charlie's in trouble. We don't know if he's going to hurt someone
again. We can't let that happen.
MICHAEL
We can't involve them, Betty. They don't know who we are, and we don't want them to. They
wouldn't understand.
BETTY
I don't know about that. I saw inside his head--he's different. Besides, they're already involved,
they're looking for Charlie. Isn't it always best to tell the truth?
MICHAEL
So long as it doesn't hurt anyone, Betty. And the truth might hurt Charlie if their officials find
him before we do. We've worked too hard, we might lose everything now. I think you understand
that.
Betty hangs her head.
BETTY
Yes, I understand.
Michael puts a hand on her shoulder.
MICHAEL
Good. I'm proud of you, Betty. I have to go out for a little while; there are some things we need
for the house. Please start Billy and Cindy on their lessons, and I'll work with you again when I
get back. We'll follow Charlie tomorrow, after you've rested. Are you sure you're feeling better?
BETTY
Yes, Michael, I'm fine. He didn't know--he was just trying to help. He surprised me, that's all.
MICHAEL
Good.
Michael goes to put on his coat, and leaves. Betty waits a moment and goes to the phone in the entryway, biting her lip as she prepares to disobey her guardian.
CUT TO:
20. INT: MULDER'S CAR, MID-LATE AFTERNOON
Mulder is driving on a rural road in Wisconsin a couple hours' drive from Milwaukee, Scully
next to him and Betty in the back seat. Betty is staring out the window, absently fingering a bag
she has with her. Scully turns toward her.
SCULLY
You're sure quiet, Betty. Are you feeling OK?
BETTY
Thank you, I'm fine. I was just thinking. We lived here a long time, and so much has happened....
A gravel road opens ahead of them on their right, and Betty leans forward to direct Mulder.
BETTY
This is it, turn here. It's kind of out of the way; I'm sorry about the road. We needed privacy.
They bump towards an old farmhouse.
CUT TO:
21. EXT: FARMHOUSE
They get out of the parked car. Betty steps a little into the open, her bag slung over one shoulder.
BETTY
Give me a second--I'll be able to tell if he's here already.
She closes her eyes and concentrates, lifting her hands a little in the air. Scully speaks to Mulder.
SCULLY
Too bad Meyers has to miss this.
MULDER
I'd like to hear what he finds out about this "group home". You know the system's overloaded
when you have a house full of telekinetics and empaths and nobody notices. Michael must be
some guardian.
Betty lowers her hands, smiling, and opens her eyes.
BETTY
Yes, he's here. In the barn, I think. Come on!
They follow her to a dilapidated barn, the door of which is hanging open, and follow her in.
CUT TO:
22. INT: BARN
Disheveled bales of hay, rusted tools. Part of the roof has caved in, letting daylight in. Scully and
Mulder stop near the door, letting Betty go ahead.
BETTY
Charlie, come out. Everything's going to be OK. I brought food, Charlie. I know you're hungry.
Charlie comes out from behind one of the bales. Betty reaches in her bag and hands him a brown paper sack; he takes it from her and starts to devour one of the sandwiches inside. He looks up and sees the Feds.
CHARLIE
Who are they?
BETTY
Scully and Mulder. They brought me here. I asked them to help us.
Charlie does not find this reassuring. Neither do Scully and Mulder. He's their murderer: it's their job to take him in. They've only taken advantage of Betty's desire to reach him. Michael enters at this juncture, with Cindy and Billy (the timing is reasonably plausible, since Michael knew where Betty would go, and how she would probably get there). Charlie backs away.
CHARLIE
Oh, no. I'm not going with you!
Cindy and Billy run to Betty, careful not to touch her.
BETTY
Why did you tell him?! I said everything would be OK. Do you want Charlie to be punished?
CINDY
We're sorry. We were worried.
BILLY
He asked us, Betty. We can't lie to Michael.
Michael addresses Mulder and Scully.
MICHAEL
You shouldn't have come here. This is a family matter.
Betty backs with the two children against a wall as Michael steps forward to quietly confront Charlie.
MICHAEL
You can't keep running, Charlie. You know you can't control this. Why won't you let me help
you?
CHARLIE
Nobody can help me. They made me a man, but I can't be a man! They made me different!
There's only one person who understands me, and I can't touch her. They made me for her, and
all I do is hurt her! I can't really get close to anybody, and you don't care! All you care about is
rules and lessons and punishments!
MICHAEL
That's not fair, Charlie. It's my job to take care of you, and I care about you very much. They
made me, too, you know.
CHARLIE
That's different! They made you from scratch--they didn't take you away and make you into
something else, and then make you try to go back! I can't do it, Michael! Look at me: I'm a
murderer now, I kill people! It's wrong, it's terrible! How can they do this to us and expect us to
be just fine?!
MICHAEL
You may be right, Charlie. But we can't change what we are now. You and I both have to learn
to live with ourselves. That's all they want for you. You know that. They wanted to give you
something special, and let you go home, and see if they could improve things for everyone.
We're part of an important project, you and I.
Scully starts to say something, but Mulder raises a hand to silence her, trying to follow what's going on. In spite of himself Charlie is calming down, too exhausted to keep struggling.
CHARLIE
Like hell! I can't go home; they stole that from me a long time ago. And what about Betty? How
can she live with these people when she can't shut them out of her head?
MICHAEL
That's what she's trying to learn. She has worked very hard, and I'm very proud of her. And your
children--
CHARLIE
Children?! I can't even touch her, how can we have children? I can't bear that, Michael, all I can
give her is more pain.
MICHAEL
That's not true, Charlie. Betty loves you very much. She wouldn't hurt so much if she didn't.
CHARLIE
That's supposed to make me feel better?! How can I go on, Michael?
Michael shrugs.
MICHAEL
You just do. People do it every day, you've seen them.
CHARLIE
Yeah, well, some people don't. I've seen that, too. I can end this--I have an option, you know.
MICHAEL
And so do I. I hope you won't force me to use it. Betty will have to start over with one of the
others, and I don't think she wants to do that. It will cause a lot of complications, and it won't be
good for Billy and Cindy, either.
Betty, still guarding the two younger children, finally joins the debate.
BETTY
Charlie, don't make him do it. Even with everything that's happened, I don't want anybody but
you. We can make it better, I know we can.
Charlie turns toward her, pleading.
CHARLIE
We don't have to stay with him, Betty. Come with me! We can go away, we can go some place
where they don't know us and just start again like real people.
Betty leaves Cindy and Billy and starts toward Charlie, stopping about halfway.
BETTY
We are real people, Charlie: just different. You're starting to sound like that movie we watched,
with Tony and Maria and all that dancing. They didn't get a happy ending, remember? If there's
going to be a place for us, we have to make it ourselves no matter where we are. But we can't do
that on our own. You have to count on other people, too.
Betty looks at Scully and Mulder with a grateful smile. She goes to Charlie, takes a deep breath and puts her arms around him, laying her head against his shoulder, trembling a little. Cindy and Billy run to Michael.
BETTY
All right, Michael, I'm ready.
Michael presses the fingers of one hand to his throat, face unchanging, and emits a piercing tone. Scully and Mulder flinch back; Cindy and Billy start to cry.
CHARLIE
No! I won't go back there!
Betty holds onto him with unexpected strength.
BETTY
This is the best way, Charlie. At least we can stay together. Just hold on to me: it'll be all right.
A WIND swirls in the barn, and a BRIGHT LIGHT pierces down on them as Charlie returns Betty's embrace. Mulder moves to run toward them, but Scully holds him back.
SCULLY
Mulder, no!
As the light intensifies Scully can't bear to watch, and throws herself against Mulder's chest. Not thinking about it, with one hand shielding his eyes, Mulder puts an arm around her. The WIND dies down and the LIGHT goes out, and now there are only two adults, two children, and one android in the barn (I have made it perfectly clear that Michael is an android, haven't I?). Billy and Cindy are still crying, and Michael bends to comfort them. It takes Scully a second to know it's over, and Mulder is still holding her, having dropped his other hand to her shoulder.
MULDER
They're gone.
Scully doesn't quite move out of Mulder's touch as she turns to look. Michael comes toward them with Billy and Cindy on either side, his arms around their shoulders.
MICHAEL
Now you are our witnesses.
Mulder ponders this (threat? covenant?), watching as Michael takes the children away. Scully is thoughtful, looking at the place where Betty and Charlie had been. Then she turns and wordlessly picks wind-blown straw out of Mulder's hair before going to the door.
FADE TO:
23. INT: MILWAUKEE FBI OFFICE [is there one in Milwaukee?]
Scully is sitting at a desk, Mulder standing next to her; Meyers paces before them, trying to take
this in, fidgeting angrily with the case files in his hand.
MEYERS
So you're telling me they're gone, that's it, end of story. You were supposed to bring him in, not
let him get away, guys!
MULDER
There wasn't much we could do about it, Tom.
MEYERS
Oh yeah, that's right, it turned out to be UFOs after all, I forgot. This is going to look really good
on my record, let me tell you!
SCULLY
You said you wanted to see what we'd come up with.
MEYERS
I didn't expect you to lose my suspect for me and then tell me his girlfriend had him abducted by
aliens while you just sat there and watched. (pause) All right, I'm sorry, that's not fair. I asked for
your help, and I got it. You can't help it if the killer was a teenage mutant from outer space, can
you?
Mulder looks at Scully and changes the subject.
MULDER
What about the group home?
Meyers laughs.
MEYERS
Squeaky clean. Michael Geister works for a privately endowed Wisconsin charity. He's raised all
four kids as legal guardian and done all their home-schooling as well--all four of them stellar
students, forgive the pun. They moved to the city less than a year ago. There's nothing much
official beyond that. Their Milwaukee social worker loves them; she says it's one of the best
home environments she's ever seen. There have been some complaints from the neighbors, but
you always get trouble like that about group homes. Of course, most neighbors don't call in to
say they've seen people floating around in the house like Peter Pan.
Meyers tosses the files onto the desk in front of Scully in a final gesture of frustration.
MEYERS
As far as I'm concerned, you can have the whole thing. Make it an X File, do whatever you want,
but get it out of my sight. Next time do me a favor and just lie to me, OK?
Scully scoops up the files and stands to go out.
SCULLY
It's a deal, Meyers.
Scully and Mulder go past Meyers to the door.
CUT TO:
24. INT: HALLWAY
Scully and Mulder go down the hall together.
SCULLY
The truth may be out there, Mulder...
MULDER
...but some people don't want to hear it.
Scully looks up at him.
SCULLY
That used to be me, didn't it?
He just smiles at her.
SCULLY
I'm trying to decide whether that should worry me.
Mulder puts a hand on her shoulder.
MULDER
I wouldn't lose sleep over it, Scully. I'll let you know if you start losing your edge.
Scully doesn't reply, as he opens a door for her and they go out.
FADE OUT.
I originally called this one "Count the Ways", from Tom's line after he meets Scully. This was meant to reference both Charlie and Betty, and the not-to-be-realized bond between Mulder and Scully. This is the title under which I originally posted it, although it has since been updated in the Gossamer archive to "Out of Reach". I decided later that "Count the Ways" was misleading, since it makes it sound like a Relationship story. So I fished around the lyrics to the songs in "West Side Story" (one of my favorites, and the movie Betty is talking about when she confronts Charlie in the barn), and came up with "Out of Reach" ("It's only just out of reach/down the block, on a beach/under a tree..." from the song "Maria"). This sums up the Mulder-Scully thing, as well as how close our heroes come to the Truth about Charlie and Betty.
Of course, with the direction the show's mythology has taken since I originally wrote this, alien/UFO stories now always have to revolve around the specific machinations of the Conspiracy and the Shadow Government. That kind of takes the fun out of speculating about things other than invasion or colonization that aliens might want to do on our little planet--such as the mostly-benevolent eugenics program I've outlined in "Out of Reach" (giving our evolution a little push by abducting children, "upgrading" them and trying to re-integrate the "improved" strains into society). But that's why we have fanfic, after all. We can do anything with the show we want to! :)
The Classic Star Trek "Charlie X" reference is, of course, deliberate. It may also be very corny. The scene between Scully and Jerry was originally written for Melissa (gone but not forgotten), which is probably all too obvious. It's talky and too long, but it says some things I wanted said (that I wanted Scully to say), and helps to justify Scully's easy acceptance of Meyers later (she now has something to prove, to herself as much as anyone else: she doesn't need Mulder, and he's not her only option). I think it actually works better with Jerry than it did with Melissa; now, there's a motivation for the scene (Melissa made Jerry promise he'd do this), rather than just the two sisters getting together and then we go on with the show. Of the teleplays I've written, I think this one would work best as an actual episode (for whatever that's worth).
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