E-mail author about this story
a teleplay by Abbie Anderson (amanders@att.net)
Originally completed mid-August, 1994; last revised 11/13/99
The third and final instalment in my outline for the opening of the second season, written before that season aired. This one was intended be made after the birth of Gillian Anderson's baby (and her recovery from same).
Please keep in mind that this story is based solely on what we knew of the characters during the series' first season--particularly with regard to Skinner (he didn't get interesting 'til the real second season, so I didn't know how much I was going to like him). Please also keep in mind that when I wrote this--and when the story is set chronologically--we still didn't have much of a Mythology (spit): no Scully abduction (or chip in her neck or theft of her ova or death-threat of cancer), no "black oil", no shape-shifters, no clones, no Krycek, no implication that Mulder and/or Samantha are/is the spawn of the Cigarette Smoking Man, and absolutely, positively no "Faceless Rebels" (don't get me started).
Summary: Scully is returned home after the birth of her implanted hybrid child, with painful guarantees of her silence concerning what she has experienced.
Disclaimer: The universe of the X-Files and the characters therein are the intellectual property of Chris Carter, Fox Broadcasting, 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: I crave feedback! 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: MULDER'S APARTMENT
Mulder comes home from work; he has his mail in his hand, and is
sorting through it as he comes in. He has not yet closed the door
behind him when he comes across an unmarked envelope. He drops
everything else and opens this item. Inside is a Polaroid picture
of Scully asleep/unconscious on a bunk, her hands resting on a
flat stomach: she is no longer pregnant. The enclosed
laser-printed note reads: "Come and get her. Same place as
before." Mulder immediately takes off.
CUT TO:
2. INT: WAREHOUSE
Scully is lying on an old army cot, her eyes open. The room is
poorly lit, and there are many boxes stacked around her against
the walls. It is a large storage space, mostly empty. A door at
the far end of the room opens: Mulder, alone, carrying a
flashlight.
MULDER
Scully?
Scully sits up, gets off the cot and starts walking slowly toward him, her face almost blank. He dashes to her and takes her in his arms, and they stand there silently a moment.
MULDER
It's over.
Scully speaks against his chest.
SCULLY
Can I go home now, please?
CUT TO:
3. INT: MULDER'S CAR
Scully stares out the window, watching the scenery with a certain
grim fascination. Mulder keeps glancing over at her as he drives.
MULDER
What do you remember?
SCULLY
Most of it. (pause) I can't talk about it.
Mulder looks at her, shocked.
MULDER
What do you mean?! Dammit, Scully, you can't shut me out, not
after what we've been through!
SCULLY (angry)
No, that's not it, Mulder. I can't talk about it! I can
remember it, I can think about it, I can speak in general
terms--but if I try to articulate specifics, something goes
haywire in my head and it just comes out as nonsense.
She rubs her belly and folds her arms over herself.
SCULLY
They--they took ...it away. Then they did whatever they did to my
brain to delete a few spots in my recall and make this happen
when I try to say what I do remember. I've been in debriefing for
the past week, I've had time on my hands to experiment. I tried
writing it down. The results were like the Jabberwocky on acid,
which isn't all that far from what's happened to me. If I get mad
enough and try to force out what I know, I have seizures. Do you
want to see?!
MULDER (quietly)
No, don't hurt yourself any more. (pause) Have you tried drawing it?
SCULLY
I can't draw worth beans, Mulder.
MULDER
You ought to try--you can't just let them silence you like this.
Scully gives an angry sigh.
SCULLY
Who could I tell, anyway? You're the only one who would believe
me. The FBI already has an official line on where I've been,
which is what my whole family thinks, too. The legitimate press
would never touch this story. Can you imagine the headline?
Mulder quietly says it for her.
MULDER
"FBI Agent Claims Secret Military Organization Forced Her to Have
Alien Baby". You're right, it probably wouldn't float at the
Post. Even the guys at Lone Gunman probably wouldn't take it
without proof; lacking your testimony, all we've got is
circumstantial. I don't think wierd dreams count.
SCULLY
I'd sound like a candidate for the loony bin if I tried to tell
anybody, even without this little speech impediment. I don't feel
too far from the brink as it is. (pause) You remember their
manifesto: I'm to be returned to my career with the Bureau,
pending certain guarantees of silence. This is their guarantee.
Pause.
MULDER
Did they tell you what's supposed to happen next?
SCULLY
I'll wait two days, and then report to Skinner. Is this Friday?
Mulder nods.
SCULLY
Weekends haven't mattered for me in a while. (pause) God, Mulder,
I just want to go home.
CUT TO:
4. INT: SCULLY'S APARTMENT
Scully enters ahead of Mulder, turning on lights and moving
slowly into the living room, running her hands along the
furniture and looking around. Mulder has not come all the way in.
MULDER
I should go. You probably need to be by yourself for a while.
Scully reaches out a hand toward him and looks up in alarm.
SCULLY
No--no, I don't.
She sits down on the sofa; Mulder takes off his coat, drapes it on a dining room chair, and crosses to sit in the living room chair opposite her. He waits, giving her space.
SCULLY
Knowing you were still out here, that you knew what was happening
to me and I wasn't just having one big hallucination--Mulder,
that's how I got through this. That and my ...advocate, although
he was part of the problem, too. I wish you could have met him, Mulder; you would have enjoyed it a lot more than I did, at least
at first.
MULDER
I did dream about him. You said he was contacting me.
SCULLY
I don't know if he's going to stop that now that it's over. Maybe
he'll get to go home now, too, wherever home is for him. It was
clear he didn't trust the people in charge. I still don't know
for certain what kind of a hold they had on him. I think he was
trying not to let me know too much. I haven't seen him since....
A pained expression brushes her face, and she puts her head in her hands.
SCULLY
I'm sorry, I'd better not try to say any more right now.
She lifts her head.
SCULLY
I want to tell you everything: you deserve at least that much.
The truth is out there, Mulder, I just can't pronounce it.
MULDER
You've been through enough, Scully. Welcome home. The rest can
come in its own time.
She manages a grateful smile.
FADE TO:
5. INT: SCULLY'S LIVING ROOM, MORNING
Mulder is asleep on Scully's couch, with a blanket and pillow.
His slacks, dress shirt and tie are draped neatly over the back
of the sofa; he's wearing a white undershirt, which is all we
need to know about so long as he's under covers. A closed pizza
box sits on the dining room table. Scully emerges from the
bedroom, wearing a bathrobe over p.j.'s and not looking very
rested. She stops in the doorway a moment, doing a reality check
as she makes sure Mulder is still there, then goes quietly to one
of the living room chairs and curls up in it, staring sadly into
space. She closes her eyes and tips her head back, wraps her arms
around her middle and starts rocking herself; when she brings her
head down there are tears on her face, and she buries her head in
her lap to stifle a gut-wrenching moan. Mulder wakes up, figures
out where he is and what's happening, and goes over to comfort
her, ignoring his own state of partial undress (T-shirt and briefs) . He kneels down next to Scully's chair, places a hand on her back and touches her head.
MULDER
Dana....
Still rocking, she pulls up and leans blindly toward him; he puts his arms around her, shushing her gently. She chokes out words through sobs of enormous loss and shock (at this point she doesn't care what he's wearing/not wearing, either).
SCULLY
Oh, God! They just took it away, I couldn't stop them--and now I can't
even say his name....
MULDER
Dana, the baby?
She nods, moaning again; slowly her sobs subside. She sits up and rubs at her face, then collapses her hands together in her lap. She looks at him and is ashamed of herself, realizing what she's just done.
SCULLY
I'm sorry, Mulder. I didn't mean to wake you up.
MULDER (gently)
Don't be ridiculous. You're entitled to a few shock waves. I
wouldn't be much of a friend if I slept through your pain.
Scully stares down at her hands, then brings them up as if holding a baby, cocking her head at the empty space framed by her arms.
SCULLY
They must have wanted it to bond with
someone, someone human. I wish I could describe it to you.... It--it was like it was mine.
She sits there for a moment, transfixed by the imagined baby in her arms, then drops her hands again.
SCULLY
Then my friend was gone, and those goons came in and took it away and knocked me
out, and monkeyed with my brain--and I'm supposed to come back and
be Dana Scully again?! Why do I have to remember any of it, why
didn't they just take it all away? Why do I have to live with this?
She looks into his eyes, despairing.
MULDER
What they want is to break you--to break both of us. But, Scully, they don't have to win. We can't let them win. They did all this to you, but they brought you back. We still have that. That may not mean very much to you right now, but it means a hell of a lot to me.
Scully sniffles, gradually coming back from the huge abstractions of her pain to the practical level of "what now?"
SCULLY
It means something to me, too. I just don't know what to do with it--or how.
MULDER
One thing you do is go back to work on Monday, Agent Scully. I guess the "how" is up to you.
SCULLY
I think I remember how to be Agent Scully. I'm just not so sure about Dana any more.
MULDER
Take your time. Maybe we can both find out.
He brings a hand to her cheek, wiping at her tears. She drops her head to his shoulder and lets him comfort her in silence.
FADE OUT.
FADE IN:
6. INT: SKINNER'S OFFICE, DAY
Skinner is sitting behind his desk. Scully enters, looking cool
and professional, and Skinner comes around his desk to welcome
her with a handshake and a comradely hand to the shoulder.
SKINNER
Come in, Agent Scully. Welcome back to the FBI. We're glad to
have you among us again.
SCULLY
Thank you, sir. I'm glad to be back.
SKINNER
Have a seat.
They both sit down.
SKINNER
Commendations are in order for a job well done, Scully. Your
services have earned you high praise from your supervisors on
this recent project.
Scully shifts in her chair and levels a blank stare in Skinner's direction.
SKINNER
Your discretion and professionalism are especially noted.
Scully takes a slight moment to respond.
SCULLY
Thank you, sir. May I ask what my next assignment will be?
SKINNER
As you know, after the closing of the X-Files you were scheduled
for a transfer to the Buffalo office. That order has been
cancelled and your placement is being revised, pending certain
decisions at a level above my jurisdiction. Right now, Agent
Scully, the Bureau would like to award you a long over-due and
well-deserved vacation.
Scully flinches slightly, with a twitch of her head.
SCULLY
If it doesn't make any difference to the Bureau, sir, my preference is to
be working again as soon as possible.
SKINNER
Agent Scully. Your devotion to duty is impressive, but I think
you need to consider your well-being as a component of that duty.
You will be informed of your next placement as soon as the
decision has been made. In the meantime, I want you to take it
easy for a while, as was recommended by your supervisors in this
report. Is that clear?
SCULLY
Yes, sir. Would you have any objections if I took it easy in the
FBI archives, to reorient myself to regular Bureau operations?
Skinner assesses her glacial gaze.
SKINNER
All right. I will authorize you for research, but you are not to
participate in any active investigation.
SCULLY
Thank you, sir.
SKINNER
Congratulations again on your excellent performance, Agent
Scully. You have a bright future ahead of you.
He stands, and she stands with him, accepting his offered handshake across his desk.
SCULLY
I'm sure I do, sir. I look forward to my next assignment.
She turns and goes out.
CUT TO:
7. INT: FBI OFFICE, MULDER'S DESK
Mulder is intent over some papers on his desk, using a
magnifiying glass to examine a photo of a crime scene. Scully
appears in the open doorway and knocks on the face of the door.
She seems a bit subdued. Mulder looks up and is glad to see her.
MULDER
Hey, Scully.
SCULLY
Hi.
He gets up and ushers her in, closing the door.
MULDER
Come on in. How do you like my new digs?
Scully gives the room a cursory glance.
SCULLY
Practical, but it lacks character. (pause) Are you free to get
lunch? My treat, I owe you.
MULDER
Thanks, sounds good.
He puts a supportive hand on her shoulder.
MULDER
How are you doing?
She eyes him, a bitter smile toying with her mouth.
SCULLY
You've heard of post-partum depression, Mulder? You don't want to
know. Substance abuse is starting to sound like a good idea.
She answers his concerned look.
SCULLY
Don't worry, I probably won't try it--I don't think that advocate
of mine would like it. (pause, lowering her voice) He has a name,
Mulder. It tears me up that I can't say his name. Maybe if I got
drunk enough I could get it out.
MULDER
If you got drunk enough you wouldn't be able to talk straight,
anyway. And you wouldn't remember it afterwards. (pause) Let me
get this put away and we can go, OK?
She nods. Mulder goes to his desk, slides the paperwork into a folder and heads into the next room of the office. When he's gone: CLOSEUP on Scully's face as she says to herself through clenched teeth:
SCULLY
I want to be able to say his name!
She forces out the beginning of a syllable--"uzz"--her eyes roll back in her head and she falls to the floor, spasming in seizure. On the way down her head hits the corner of a file cabinet, and she falls heavily on her left arm. Mulder dashes in from the other room, having heard the noise of her fall, and goes to roll her flat on her back, cradling her head in his lap and making sure she's not biting or swallowing her tongue, trying to contain the force of the spasms so she won't hurt hurself further. The seizure abates and after a moment her eyes flutter open. She starts to put a hand to her head.
MULDER
Just lie still. You had a seizure.
Scully closes her eyes again and sighs. Her voice is muted and a little slurred.
SCULLY
I just want to say his name.
MULDER
Well, you better knock it off if you don't want to do more permanent damage.
Mulder notices a streak of red on his slacks where her head has been resting.
MULDER
Scully, you're bleeding. You must have hit your head when you
fell.
He eases her gently up and takes a look at her head. Scully gingerly flexes her left arm.
SCULLY
I think my wrist is sprained.
She winces as he finds the cut on the back of her head.
SCULLY
Ow. How bad is it?
MULDER
Not too bad. We'd probably better get you some First Aid.
He props her up against the file cabinet.
SCULLY
Maybe I should quit trying. Then again, if I can turn myself into
a vegetable then I won't have to think about this any more.
Mulder puts a hand under her chin.
MULDER
What would it prove, destroying yourself? Don't give them the
satisfaction, Scully. You're worth more than that.
He drops his hand.
SCULLY
What about me, Mulder? What satisfaction do I get?
MULDER
You get your life back. That part you have to do for yourself.
(pause) Don't move, I'll be right back.
He goes off to get a first-aid kit.
CUT TO:
8. INT: FBI CAFETERIA
Scully pays for both of them at the register, her left wrist
wrapped in an ace bandage. She won't accept help with her tray,
handling it carefully to favor her hurt arm; they go to a table
and sit down.
MULDER
What did Skinner have to say?
SCULLY
Well, I'm not going to Buffalo. Right now I'm in limbo: somebody
higher up has to decide my placement. He said the Bureau wants me
to take a vacation. (pause) He commended me for a job well done,
Mulder; he says my "supervisors" on this special project give me
a glowing report. It was all I could do to keep from spitting
when he told me that.
MULDER (laughs)
I'd like to see that.
SCULLY
Last time I tried it I got myself that shiner you saw in that
Polaroid they sent you two months ago. I told you I provoked him.
MULDER
You are something else, Scully.
SCULLY
I still don't want a stinking vacation. I want to get back to
work; I want to sink myself into something that has nothing to do
with either babies or UFOs.
MULDER
Maybe you could take a trip or something.
SCULLY
By myself? I just got back, and you're trying to get rid of me.
(pause) So, Mulder, when are we going dancing? I'm not letting
you off the hook for that, you know.
MULDER
Well, actually--one of my friends got me invited to this
fancy-dress shinding next week. A "come and see what the senators
are wearing this season" kind of thing. Normally I wouldn't want
to go, but I thought it might be fun for you.
SCULLY
What do you mean?
MULDER
You said you're not sure who Dana is any more. For this you
wouldn't have to worry about that. You can get dressed up and be
anybody you want to be: an innocent princess, a mysterious
duchess, a seductive spy, anything.
SCULLY
I don't know if I need any help distorting reality right now, but
I have to admit you're tempting me. I'll see what I've got in the
way of evening wear. Who would you be--Prince Charming, Cary
Grant...?
MULDER
Try Orville Redenbacher.
SCULLY
You can't fool me, Mulder. I've seen you in a tux before, you
were pretty hot. That might just have been the company, though.
MULDER
What are you talking about?
SCULLY
Don't play stupid, Mulder, you're not very good at it. Surely you
haven't forgotten Phoebe Greene and that hotel fire in Boston
last year? I was there, too, you know, although granted you were
rather occupied at the time.
MULDER
Oh, geez, Phoebe!
He thuds a fist over his heart.
MULDER
You're wounding me, Scully.
SCULLY
Oh? I thought I was being pretty nice about it. I could have
gotten my entire wardrobe wrinkle-free from the steam you two
were generating that night.
Mulder puts down his fork (or his sandwich, whichever).
MULDER
Look, do you want to go with me to this thing or not? I haven't
actually given you the invitation yet, you know.
SCULLY
Yes, Mulder, I want to go. I'm sorry if I hurt your feelings, but
truth is truth.
MULDER
Welcome back, Scully. No one gives me a hard time quite like you
do.
She grins at him.
SCULLY
Flatterer.
FADE TO:
9. INT: FBI ARCHIVES
Scully sits at a table amidst a pile of binders and books,
studying and taking notes. Mulder comes around a corner, looking
for her in the stacks. He is carrying a bag. He sees her and
comes to her table. She looks up and takes off her reading
glasses.
SCULLY
Mulder. I was just doing some catching up.
MULDER
I won't keep you long. I brought you something.
He hands her the bag and sits down on the edge of the table. She opens the bag and brings out a drawing pad and a selection of art supplies (pastels, watercolors, a sketching pencil, charcoal...).
MULDER
I mean it, Scully, you should try drawing. It's good therapy.
SCULLY
Well, I can't tell you I don't need help. Thanks. I'll give it a
try.
MULDER
How's your head?
She puts a hand to her cut.
SCULLY
It's healing up. My wrist is a lot better, too. I haven't had any
more "accidents". It helps to have this stuff to look at. Good
old-fashioned honest American murders and criminal activity. This
is what I signed up for.
MULDER
Sounds like you've got the Agent Scully part down pretty solid.
How's Dana doing?
SCULLY
I'll let you know next time I talk to her. All she wants to do
lately is go shopping, and I just don't have the time for it.
(pause) Thanks, Mulder.
MULDER
I'll see you later, OK?
She nods. He gets up and she watches him leave, fingering the sketch pad.
FADE TO:
10. INT: SCULLY'S APARTMENT, LATE NIGHT
Scully sits at her dining room table with the art supplies spread
about her, intently sketching something with pastels. Several
previous efforts are scattered over the table; some of them have
fallen to the floor. A few pages are crumpled up and cast aside,
one thrown into the living room. She was right, she can't draw
worth beans; but she's trying, and her work shows improvement.
The emotional content is certainly high. The one she's working on
is of the baby, lying diapered on a blanket, on its back. The
chest is smooth: no nipples. It looks like the baby in Mulder's
second dream in "Communions": the eyes are large and slanted,
squeezed shut newborn-style; the elongated head bears a fringe of
dark hair. Its skin is pink, like a normal European-descended human baby's. Scully is
trying to shade in a little gray. She stops, and puts a finger to
the baby's face, then spreads her right hand over the picture.
She leans her head on her left hand, closes her eyes and sighs.
FADE OUT.
FADE IN:
11. INT: MULDER'S OFFICE
Mulder isn't there. Scully is curled up in a chair off to the
side, wearing casual clothes with her FBI i.d. tag on. She is
working on another picture, and has one or two others on a desk
or table next to her. Mulder walks in, carrying some papers, and
stops, surprised to see her. Scully sets her picture down to
greet him.
SCULLY
Hi. There wasn't anybody here, so I just let myself in.
Mulder closes the door behind him and comes all the way in, setting his things down on his desk.
MULDER
You've been busy. Can I see?
She hands him the one she's been working on.
SCULLY
You've been warned: I'm not much of an artist. I can't get the
hands right. (pause) I've got at least a dozen of these at home.
Mulder looks at the picture. It is a portrait of the gray alien advocate, arms stretched towards the viewer. There is a subtitle in red, in quotes: "FOX".
MULDER
You're calling him Fox?!?
SCULLY
Well, I can't say his real name now. He kept using you as a stand-in in my dreams; and you won't let anybody call you
Fox. I figured there was a certain poetic symmetry to it, calling
him what I can't call you. If it bothers you I can think of
something else. I probably shouldn't be adding to my general
confusion, anyway.
Mulder is genuinely unsure. He might want some day to hear how his first name sounds in Scully's mouth purely in reference to himself, especially now as their friendship is becoming more profound; then again, the idea of having a real-live alien for an alter ego has its appeal as well.
MULDER
I don't know, Scully. I'll have to get back to you on this one.
SCULLY
Maybe I'll just call him Freddie.
He hands the picture back to her.
MULDER
You'd better not let anybody around here see these--you'll start
getting a reputation.
SCULLY
I wouldn't worry about it, Mulder. Skinner tells me I have a
bright future ahead of me.
MULDER
They used to say that kind of thing about me, too.
SCULLY
There are worse things than people thinking I'm like you. You're
a brilliant agent, remember?
MULDER
Yeah, but I'm also a disappointment to the Bureau. Being with me
hasn't brought the best of things to you, you know. You'd be
justified in holding me responsible for what's happened to you.
SCULLY
You can't be responsible for the truth, Mulder. If it wasn't me
it would have been someone else. We just happened to be
conveniently in need of a serious deterrent. I think they got
their point across, don't you?
Reaction.
CUT TO:
12. INT: SKINNER'S OFFICE
Skinner is at his desk. Bad-guy Hitchings is sitting next to the
window as is his wont, smoking.
HITCHINGS
So you see, Mr. Skinner, there has been a necessary reversal of
policy. It is imperative that we reinstate agents Mulder and
Scully as X-Files investigators.
SKINNER
I'm sorry, sir, but this is a little hard to take. They are both
talented agents. Frankly, I think they were wasted pursuing
unexplained phenomena in the first place. It was a relief to
bring them back to regular duty.
HITCHINGS
The fact that the phenomena are unexplained is what makes them so
critical for my sector. Of course it wouldn't do to bring a great
deal of attention to such things. That is why the office must
remain small and obscure, even secret.
Hitchings pauses to tap the ash off of his cigarette.
HITCHINGS
Reopening the X-Files office is the course of action determined
by my superiors, and agents Mulder and Scully have been specified
for the assignment. You can, of course, exert a certain level of
control over the activities of your agents. I have been
authorized to permit their occasional assignment to more orthodox
cases. But their investigations should not be hindered by
bureaucratic complaints. They will not be useful to us if they
are required to follow every rule and regulation at the FBI's
disposal. I trust I've made myself clear.
Hitchings takes a drag on his cigarette, letting the smoke dribble out his lips as he looks out the window. Skinner does not particularly like this, but he knows he doesn't have much choice.
SKINNER
Yes, sir. I'll have the orders drawn up and issued as per your
directive. The X-Files office will be reopened and agents Mulder
and Scully will be informed of their new assignments.
Arrangements should be complete within a week's time.
HITCHINGS
Thank you, Walter. I've always said you were a reasonable man.
Hitchings gives Skinner a crocodile smile, his face wraithed in smoke.
FADE TO:
13. EXT: SCULLY'S APARTMENT, NIGHT
Mulder comes up to the door, wearing a tux and carrying a square
cardboard florist's box (a corsage for Scully). He may or may not
look a tad nervous. He rings the doorbell, and after a moment
Scully opens the door. She is wearing a deep green satin and
chiffon gown with a scarf-like end thrown over one shoulder, and
her hair is up in an inverted French braid decorated with baby's
breath. She looks not only gorgeous, but even better: happy.
Mulder is impressed.
MULDER
Wow, you look terrific!
Scully just smiles at him.
SCULLY
Hello, Mulder. Come in, I'm almost ready.
He goes in and she closes the door after him.
CUT TO:
14. INT: SCULLY'S APARTMENT
Scully is putting in her earrings.
SCULLY
I'd say thank you, but I'm never sure whether reactions like that
should really be considered flattering.
MULDER
Take it as a compliment, Scully. Not everybody can get all
dressed up and still look like herself.
SCULLY
Ah. Thank you, then.
She finishes. Her mood is ebullient and a bit defiant.
SCULLY
I took Dana shopping with the bonus they gave me for my "special
assignment". This is my blood money dress.
MULDER
Keep it up, Scully, you'll spoil the mood. At least it didn't
take blood money to get you this corsage.
He opens up the box.
SCULLY
Orchids--Mulder, you've got class.
Mulder starts pinning the flowers to her dress.
MULDER
Who are you going as, the duchess or the spy?
SCULLY
Just me.
MULDER
Good. I like just you.
He finishes and straightens up. She picks up her purse and takes his arm.
SCULLY
Come on, Orville, let's go to the palace and dance the night
away.
CUT TO:
15. INT: BALLROOM
Mulder enters, Scully on his arm. The room is full of hobnobbing
bigwigs, and couples dancing to live waltz music (a small
orchestra is on a dais in one corner). Mulder turns to Scully and
bows.
MULDER
May I have this dance?
SCULLY
That's what I came here for.
Scully thinks this whole thing is highly entertaining. They step onto the floor and begin to waltz.
MULDER
We'll see if those dancing lessons I had to take when I was
twelve have paid off.
SCULLY
I have to let you lead, don't I?
MULDER
It would help. Let's just pray they don't break into a polka.
They dance a while, doing just fine.
MULDER
Are you sure this is OK for you?
SCULLY
What do you mean?
MULDER
Doing this with me. This is not exactly a professional setting.
SCULLY
Are you kidding? For almost three months I was having dreams
where we were married and I was having your baby, Mulder. You
were wonderful, by the way. You should be afraid of me, not for
me. Or is that why you asked the question?
He just smiles at her.
MULDER
I had dreams, too, you know. What have you dreamed about lately?
Scully's face falls a little, but she braves out her answer.
SCULLY
I don't have dreams any more. Not since...before I got back.
Maybe they've stolen that from me, too.
Before Mulder can frame a response, an older gentleman steps up to them and taps Mulder on the shoulder.
GENT
May I cut in?
Mulder surrenders Scully, to her chagrin, and moves back a few paces, putting his hands in his pockets and watching them go. I like things corny: the sound drops away and we get a slight slow-motion effect as Mulder watches Scully dance; she turns her head and makes eye contact with him. Mulder's reverie is broken by a gloved waiter-type tapping him on the shoulder.
WAITER
Excuse me, sir. Are you Mr. Fox Mulder?
MULDER
Yes.
WAITER
I have a phone call for you, sir.
The waiter hands him a cordless phone. Mulder takes the call, still trying to keep an eye on Scully.
MULDER
Mulder here.
A man's voice answers him. It is bad-guy Breyer; Mulder immediately recognizes his voice from when Breyer held him captive in "The Erlenmeyer Flask" and from his phone calls with Scully during her captivity.
BREYER (V.O.)
Are the lovebirds having a pleasant evening?
Mulder snaps to attention.
MULDER
Who is this?!?
BREYER (V.O.)
You don't need to know that. What you do need to know is that you
and little Mother Superior out there have not been forgotten. The
book will be reopened, Mulder. Just remember you're not the one
writing it. You're starting to run out of "advocates".
MULDER
I don't know what you're talking about.
BREYER (V.O.)
Sure you do. (pause) Doesn't she look stunning in green,
"Orville"? I'd hate to have to bruise that sweet face again.
Click. Adrenaline time. Mulder looks around, trying to find someone watching him. He catches the back of a man's head that might be Breyer's, turning away in the crowd and walking out. Then his SCAN hits on Janet Terpenning from "Communions", standing alone, who meets his eyes and raises her champagne glass in greeting. Mulder shoves the phone onto a passing waiter's tray and pushes to Terpenning through the crowd.
TERPENNING
Good evening, Mulder. I didn't expect to see you here. Are you
enjoying yourself tonight?
MULDER
Terpenning! What was that call all about?
Terpenning's face hardens.
TERPENNING
I have no idea what you're referring to.
At this moment the Gent steps up, returning Scully.
GENT
She's all yours, young man.
Mulder stares angrily at the man as he bows and goes off, convinced that he's got to have been in on the phone call, too.
SCULLY
Mulder, what's wrong?
MULDER
I just got a very interesting phone call. We've been threatened
again.
Terpenning ignores Mulder and extends a hand to Scully, which Scully accepts.
TERPENNING
I'm pleased to meet you, Ms. Scully. Your service to the Bureau
has been exemplary. I must say you look lovely this evening. If
you'll excuse me--
Mulder grabs her arm.
MULDER
Wait a minute. Who was that?
TERPENNING
I told you before, Mulder, I'm out of the game and Hitchings
knows it. I have better things to do. You kids are on your own.
Excuse me.
She goes off. Mulder looks after her, angry, and looks back at Scully. She clears her throat.
SCULLY
Dance with me, Mulder.
She puts his right hand on her waist and takes his other hand, in waltz position.
SCULLY
I came here to have a good time with you, Mulder. They're not
taking that away, too. You're the one who said I get my life
back.
They begin to dance, and Mulder lightens up under her smile.
CUT TO:
16. EXT: SCULLY'S APARTMENT
Mulder and Scully come up to her door, laughing about something.
She stands in front of him, fishing for her keys in her purse.
Mulder raises a tentative hand and starts to trace the curve of
her neck. He stops when she turns to look at him, but she smiles
softly.
SCULLY
No, don't stop. It's nice. You just surprised me.
She turns back to her purse, getting out her keys and getting the right one into the lock. Mulder leans down and kisses her neck and shoulder; with a sigh Scully turns toward him, dropping her purse. This is their first truly passionate encounter; their embraces in "Transformations" and "Communions" were more tender, afraid, and mutually supportive than anything else, in part because Scully was rather pregnant at the time. Eventually they unpeel. This is a bit overwhelming.
MULDER
Let me come in with you, Dana.
SCULLY
There's nothing in the world I'd like better, Mulder. But if you
haven't noticed, I'm not the most stable person these days. It's
probably not a good idea for me to get too close to anybody right
now.
MULDER
I couldn't get much closer than I already am. Too much has
happened, Scully, there's no going back.
Scully swallows hard. This is not easy to talk about.
SCULLY
That doesn't mean you have to go to bed with me. That changes
everything. (pause) Besides, my place has got to be bugged. I
wouldn't want an audience.
MULDER
Just let me be with you. They don't even have to know I'm here.
Just do what you normally would when you come home.
She smiles.
SCULLY
I like the way you think, Mulder.
She lets go of him, stoops down to pick up her purse, and opens the door. Mulder takes off his shoes and goes in behind her.
CUT TO:
17. INT: SCULLY'S APARTMENT
For the benefit of listeners, Scully says at the door:
SCULLY
Good night, Mulder.
She closes and locks the door. Scully puts her purse down on the table; Mulder sets his shoes on the carpet and takes her silently over to the stereo, picks something out and puts it on the CD player (Sade or Anita Baker would be nice, or just jazz), as sound cover. He takes her in his arms and they start slow-dancing; the inevitable long, slow kiss ensues. Mulder takes his kisses down toward her shoulder again.
SCULLY (hushed)
Normally I'd be starting my bath about now and getting ready for
bed.
He straightens up, and caresses her face. She takes his hand and leads him into the bathroom.
CUT TO:
18. INT: SCULLY'S BATHROOM
Scully starts the bath water; now they can talk more freely. They
are both starting to think better about leaping into more
intimacy, and stand a little apart.
SCULLY
We can't do this now, can we?
MULDER
Probably not.
SCULLY
I don't want you to leave.
MULDER
I don't want to go.
She reaches for his hand and starts playing with his fingers.
SCULLY
I wouldn't know how to get you out of this tux, anyway.
MULDER
I'll have to show you some time.
SCULLY
I look forward to it.
She lifts his hand to her face and kisses the palm, then lets it go.
SCULLY
Would it be too much to ask you to start my zipper before you go?
MULDER
What are friends for?
She turns around and he takes the zipper about halfway down her back. He slides his hands in a little and then brings them responsibly to her shoulders.
MULDER
I'd better get out of here while I still can.
FADE TO:
19. INT: SCULLY'S BEDROOM
The room is empty (yes, he went home). The pictures Scully has
drawn are taped haphazardly over the walls. Scully comes in from
her bath, wearing a bathrobe. She stops and looks around the
room, then goes to a wall and starts taking the pictures down.
FADE OUT.
FADE IN:
20. INT: HITCHINGS' OFFICE
Hitchings is seated at his desk, examining a set of surveillance
photographs: Mulder and Scully kissing at her door. Breyer is
sitting across from him. They are listening to a tape in a player
on Hitchings' desk.
MULDER (V.O. [tape])
Being with me hasn't brought the best of things to you, you know.
You'd be justified in holding me responsible for what's happened
to you.
SCULLY (V.O. [tape])
You can't be responsible for the truth, Mulder. If it wasn't me
it would have been someone else. We just happened to be
conveniently in need of a serious deterrent. I think they got
their point across, don't you?
Hitchings reaches over and shuts off the tape.
HITCHINGS
They are sweet, aren't they? Good work, Richard. I believe this
phase of the project can be pronounced satisfactory. Skinner is
making the arrangements for their return to the X-Files, and the
rest they seem to be arranging on their own. They have no one
else to trust but each other, and reasons not to try to share their secrets with anyone.
With Mulder's encouragement, Scully is recovering well from her
recent trauma. Their intimacy will give us additional leverage in
a pinch. The reports concerning the infant are encouraging as
well. Another job well done, Richard.
BREYER
You know how I love my work, sir.
HITCHINGS
Indeed, I do. But exercise a little restraint with these two. We don't want to push them too far, and we don't want
them hurt. You are only to contact them at my discretion, is that
understood? You overdid it a bit with the telephone at the
ball; he might have followed you and forced an unpleasant
confrontation. We can only be thankful that poor Terpenning
distracted him.
BREYER
Of course, sir.
HITCHINGS
Grief can be a very powerful thing, Richard. It's best not to
trigger it unnecessarily.
BREYER
Yes, sir.
HITCHINGS
Thank you, Richard. That will be all. Thanks for the pictures.
Breyer gives a shark-like grin.
BREYER
You're welcome. It was entirely my pleasure.
CUT TO:
21. INT: FBI HEADQUARTERS, MAIL ROOM
Scully approaches a mailbox, pulling out a keyring and flipping to the right key. She unlocks the mailbox and
takes out a couple envelopes. One of them looks extremely
official. Expecting her new placement orders, she quickly closes
the mailbox and steps aside to open the envelope. She takes out
the letter inside and starts reading, and reacts in shock:
SCULLY
My God....
CUT TO:
22. INT: MULDER'S OFFICE
Mulder works at his desk. Scully bursts in, the open letter still
in her hand. Mulder gets up and comes around his desk to greet
her.
MULDER
Scully--what's up?
SCULLY
Mulder, have you checked your mailbox today?
MULDER
No, why?
SCULLY
Look at this. You'd better sit down.
Mulder takes the letter from her and sits down as he reads, passing a hand over his face.
SCULLY
Mulder, who would want the X-Files reopened? Who would want us
back in there, after all the trouble the Bureau took to get us
away from all that? It doesn't make sense.
Mulder looks at her.
MULDER
Your guess is as good as mine.
SCULLY
Have you gotten to the part where we're authorized to employ
unorthodox investigative procedures? They're giving you more than
you ever had before.
MULDER
They're giving it to you, too.
SCULLY
Mulder, I just can't believe this, not after everything Skinner
said to me about my career. This can't be his idea.
MULDER
I need some fresh air. Let's get out of here and take a walk, OK?
CUT TO:
23. EXT: STREETS OR PARK OUTSIDE FBI HEADQUARTERS
Mulder and Scully walk side by side.
MULDER
That guy on the phone at the ballroom said something about the
book being reopened. I don't like the smell of this, Scully.
SCULLY
That's what I thought. If this is for real, we'll be working for
the same people I just got away from. Is there anything we can
do?
MULDER
Probably not if we don't want something worse to happen. They've
got us right where they want us. We already know how far they're
willing to go to keep us in line.
SCULLY
This letter sounds like they want us to go back to what we were
doing before, only more so. Why would they want that? What do
they get out of it?
MULDER
You remember Lonely Star Shipping? Military research, Scully.
They're going to use us to find new opportunities for them. Who
knows, maybe they want to keep us on reserve for negotiations
with our little gray advocate. He seemed to think we were
important.
SCULLY
So we're supposed to keep looking for the truth, even though we
know someone else is controlling it and wants to exploit what we
learn.
MULDER
Kind of takes the fun out of it, doesn't it?
Scully is silent for a moment as they walk.
SCULLY
I can think of worse things than being your partner again,
Mulder. At least with our new orders I won't have to yank your
chain about regulations all the time.
He stops, and puts a hand on her arm.
MULDER
Does this mean we can't go out any more?
Scully's smile is overtaken by a succession of mixed feelings.
SCULLY
Let me get back to you on that one.
FADE TO:
24. INT: X-FILES OFFICE
Mulder and Scully unpack their things.
SCULLY
Deja vu, Mulder. I wish this meant the last three months never
happened.
MULDER
I don't know, it hasn't been all bad.
SCULLY
For instance?
MULDER
We never would have gone dancing otherwise.
SCULLY
I wouldn't say never, but you do have a point. I probably
wouldn't have told you I thought you were adorable if I didn't
think I had nothing to lose.
MULDER
You also said "impossible".
She stops what she's doing a moment.
SCULLY
I did, didn't I?
She opens a drawer and puts some things in it.
SCULLY
So what do you want our first case to be: aliens, mutants,
ghosts, or D, none of the above?
MULDER
I don't know. You pick. I can't seem to work up much enthusiasm
for it. I keep hearing the gears turning in the background.
Scully finishes what she's doing.
SCULLY
You know, Mulder, I've been thinking about this. There are some
advantages to our situation.
MULDER
I'm all ears. And I'm not the only one.
SCULLY
Exactly. You said they've got us right where they want us; in a
way, we've got them where we want them, too. They have a vested
interest in us, now. They're not just sinister forces any more:
they're our managers, even if they won't come out of the woodwork
very often.
MULDER
Are you sure you want to be talking about this here?
She gives him an ironic smile.
SCULLY
Oh, so you can flirt with me in front of them but you can't talk
about what really matters to you, is that it? (pause; gently) Of
course they'll be listening here, and we probably can't do
anything about our apartments being bugged or our phones being
tapped, either. But the bug goes both ways: we can give them
messages, too. Remember, I lived under constant observation while
I was away. Having a direct channel to the ones in charge gives
you a certain amount of power. You can make requests, tell them
what you need to get the job done--and you can let them know
exactly what you think of them. Besides, we're FBI agents, we
know all the most effective ways to get around surveillance when
we have to.
Mulder can't believe what he's hearing.
MULDER
I thought I was supposed to be the crazy one.
SCULLY
Get over it, Mulder.
He picks up his "I Want to Believe" poster, unrolls it and starts putting it up on the wall.
SCULLY
Wait, I've got something for that.
Scully gets scissors out of her desk and cuts a strip from a piece of paper, then letters something on it with a pen. She comes over to Mulder, takes the tape from him and places her strip over the word "Want" on the poster. Now it reads: "I HAVE to Believe".
SCULLY
I think that about sums it up, don't you?
She looks up at him; he puts a hand on her shoulder, and they both turn back to face the poster. FOCUS on the blurry image of the UFO and the legend "I HAVE to Believe."
FADE OUT.
FADE IN:
25. INT: SCULLY'S APARTMENT, DAY
Scully is in the kitchen; it's the weekend, and she's baking
bread. She has a batch of dough out on a board, kneading it;
there is flour on her clothes and face. The doorbell rings; she
wipes at her face with the back of her hand, then wipes her hands
off and goes to the door. It's Mulder, wearing weekend clothes.
SCULLY
Mulder! Um, come in.
He steps inside, and she closes the door behind him. She goes back towards the kitchen.
SCULLY
Sorry I'm such a mess. I'm baking some bread. More therapy for
me.
MULDER
Don't let me stop you.
She goes back to her dough, leaning hard into the work.
SCULLY
Any particular reason why you're here on this sunny Saturday,
Mulder? You should be out having fun somewhere.
MULDER
Nah, all that mad whirl gets old after a while. Can I try?
SCULLY
Sure, if you don't mind getting a little messy. Wash your hands.
Do you want an apron or something?
She's not wearing one herself.
MULDER
Aprons are for sissies.
He washes his hands at the kitchen sink.
SCULLY
Have you done this before?
MULDER
I used to help my Mom sometimes when I was little. I probably
wasn't much actual help, but I liked being with her in the
kitchen.
He steps to the bread board, flours up his hands and gets to work on the dough. Scully watches him a moment, then turns to the oven.
SCULLY
I've got another batch rising in here. It's probably about time
to punch it down.
She takes out a large bowl draped with a damp towel.
SCULLY
What did you tell me his name was, the guy who does all the dirty
work? Tall guy, dishwater blond, face like a weasel?
Mulder turns and looks at her.
MULDER
I think you mean Richard Breyer.
Her lips curl in a malicious smile.
SCULLY
Good name for him.
She takes the towel off the bowl, and raises her voice:
SCULLY
Are you listening, Dicky? This is your head. I am about to
deflate it with a series of rapid punches.
She gets in some satisfying thumps as the risen dough gives way. Mulder laughs at her.
SCULLY
I told you it has its advantages. He already hates me; I might as
well keep up the dynamics of the relationship.
MULDER
You are nuts, do you know that?
SCULLY
Don't knock it 'til you've tried it, Mulder. We have to live with
this, we might as well enjoy it.
MULDER
I'm having a hard time getting used to it.
SCULLY
You don't get used to it. You just change it.
Scully reaches for two prepped loaf pans on the counter, divides the dough in two, shapes the halves into loaves, sets them in the pans and puts them back in the oven (which is turned off) to rise a second time, then washes the oil off her hands.
SCULLY
How's it going over here?
MULDER
See what you think.
He steps back; Scully flours her hands and takes a couple passes on the dough.
SCULLY
Wow, you were working hard on this. Who were you thinking about?
In lieu of reply he puts his arms around her from behind.
SCULLY
Is that why you came over?
He leans his head down against hers.
MULDER
I was lonely.
SCULLY
I can't stand it, Mulder: go be adorable some place else.
She turns and flicks flour in his face; he grabs her hand to keep her from doing it again.
MULDER
Do you mean it?
SCULLY
What: that I can't stand it, that you're adorable, or that you
should leave?
MULDER
Take your pick.
She pulls her hand away and wipes at his flour-covered nose with her flour-covered hand.
SCULLY
OK, you're adorable. Now back off and let me finish this.
He steps back again and leans on a counter behind him. Scully re-greases the bowl from the first batch of dough, shapes the kneaded dough into a ball and drops it in the bowl, flipping it to coat it with oil before re-draping the towel over all.
SCULLY
You've never pushed me before, Mulder. You always made an art out
of keeping a respectful distance.
She takes the bowl to the oven, carrying it in both hands; Mulder reaches over and opens the oven door for her, closing it again after she sets the bowl inside.
MULDER
A lot of things have changed in the last three months.
Scully washes her hands again.
SCULLY
I'm just trying to decide how I feel about it.
MULDER
Let me know when you make up your mind, OK?
SCULLY
Sure thing, partner.
He steps close to her again and puts his floury hands on both sides of her face, searching out her response.
SCULLY
What do you want from me, Mulder?
He drops his hands.
MULDER
Everything. Nothing. I don't know.
SCULLY
Let me know when you make up your mind. (pause) We've got an hour
and a half before the dough is ready. Let's get cleaned up, and
then there's something I want to show you. Then maybe we can go
somewhere and talk.
Scully touches his face, then goes off to get changed.
CUT TO:
26. INT: SCULLY'S LIVING ROOM
Mulder has gotten the flour off of himself, and is sitting on the
sofa reading a magazine. Scully walks in, cleaned up now and
carrying a photograph. She sits down next to Mulder and hands him
the picture.
SCULLY
This was in my mailbox when I came home last night. No note or
anything, just the picture.
It is one of the steamy surveillance photos of Mulder and Scully at her door the night of the ball.
SCULLY
I told you you were hot in a tux.
Mulder puts the picture face down on the coffee table.
MULDER
Let's get out of here.
CUT TO:
27. INT: COFFEE SHOP
Mulder and Scully sit opposite each other in a booth, with
coffees or cappuccinos in front of them. The ticket for their
order lies face-down on the table.
SCULLY
There's nothing we can do about it, Mulder. I get the sinking
feeling that they've deliberately driven us together, or at least
that they're counting on us falling for each other. It makes us
vulnerable. I really don't think that's what Freddie intended; he
was just trying to comfort me, as far as I could tell. But it
ends up working to their advantage.
MULDER
Dammit, I don't like being controlled like this. What happens
between you and me is our business.
SCULLY
Not any more, it isn't. And we still have to work together,
regardless.
MULDER
Yeah, working for them. It stinks, Scully.
SCULLY
We can still use it. So long as we don't get too close to our
managers' pet projects, we're going to have a lot more freedom.
And they may let us get pretty close, too. You can get your
answers, now, Mulder, and the FBI won't be breathing down your
neck any more.
MULDER
Answers for who? Can you imagine what the military or the CIA
could do with somebody like Cecil Lively? Pyrokinesis would come
in real handy in sabotage or on the battlefield if they could
figure out how it worked.
SCULLY
How do we know your work hasn't been used like that already? If
they can do everything else they've done, they surely have access
to the X-Files. Don't kid yourself, Mulder: you've always been
controlled, you just didn't always know about it. Now you know.
(pause) Everything we learn, we can potentially use against them.
They need us to do this work, so they have to make sure we can get
what we're after; that gives us an edge.
Mulder reaches for her hand across the table.
MULDER
I don't like the stakes.
SCULLY
We can't let that stop us. I don't want to see you hurt, either.
It would be better if I didn't feel for you as strongly as I do, but that's
another thing I can't change right now. (pause) You're my
partner: I'm stuck with you.
MULDER
I love you, too, Scully.
She laughs. Their situation bears enough dark absurdity as it is; loving each other at this juncture simply heightens the commedia.
SCULLY
Now that took some guts.
Scully gets up and picks up the ticket from the table, then leans down and kisses Mulder on the cheek.
SCULLY
Hold that thought. I'll be right back.
She goes off to pay for their coffee. Mulder turns to watch her go, a wry smile playing on his face.
CUT TO:
28. EXT: OUTSIDE SCULLY'S APARTMENT
Mulder and Scully come up to the door.
SCULLY
Are you going to come in and help me finish that bread?
MULDER
I don't think so. Nothing personal, but I don't like the extra
company.
SCULLY
You love me, but you can't stand my roommates. (pause) They're at
your place, too, you know.
MULDER
I know. I don't think I'm going home for a while. I'll take a
drive or something.
SCULLY
You can't run away from it, Mulder.
MULDER
No, but I can postpone it.
She puts a concerned hand to his face.
SCULLY
Don't tear yourself up about this, Mulder. We need to be on our
toes.
He takes her hand off his face and holds it in his.
MULDER
Thanks. Maybe I ought to take my own advice and do a little
artwork.
SCULLY
I've got all the supplies inside.
Mulder looks at her a moment.
MULDER
All right, all right, I'll stay.
SCULLY
Good. (pause) I didn't want you to go off angry by yourself. We
can't afford to get careless.
MULDER
You just want to keep an eye on me.
SCULLY
You got it, sweetheart. You're all I've got now, Mulder: I'm not
about to let you blow it.
She opens the door to the apartment, and they go in, still holding hands.
FADE OUT.
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