THE X-FILES: "Stepping Out"

a teleplay by Abbie Anderson (amanders@att.net)
originally completed mid-December, 1994; last revision 4/21/96

Summary: An old friend of Scully's dropped out of the FBI Academy to sign up for top-secret military medical research. Now his mysterious supervisor doesn't care how many volunteers have to die in the process, and Scully's old friend is willing to perform one final assignment in order to get out, just as our heroes tentatively embark on a first date (sorry 'bout dat). Spoiler alert: refers somewhat heavily to 2nd-season events which culminated in "One Breath".

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.


TEASER

FADE IN:
1. INT: HOSPITAL/LABORATORY
A row of numbered trays sits on a counter, each containing two syringes filled with varying levels of blue and clear liquid, respectively; a few swabs; and two fresh sets of surgical gloves. A blank one-way mirror stretches behind the counter. The first several trays are disarrayed, the syringes empty, the gloves discarded. A male doctor stands next to the back of a bank of monitors, his bare hands clenched at his sides. He looks as if he's hiding from something. A cardiac resuscitation unit stands to one side. A male nurse comes around from the other side of the monitors, goes to the trays and picks up the next one in line, glancing sidelong at the doctor.

NURSE
The subject is prepared, doctor. Are you ready to continue?

The doctor's voice is tight as he swings around, picking up the fresh gloves from the tray and putting them on. The nurse is already gloved.

DOCTOR
All right. Let's get on with it.

The doctor and the nurse move around the monitors to face the "subject", a young Latino man lying uncovered on a gurney. His head and chest sprout several electrodes connected to the monitors. He is wearing hospital fatigues stamped "U.S. ARMY".

KID
Fire away, Doc: shoot me to the moon! It's time for steppin' out.

The doctor doesn't answer, but checks the monitor outputs, taking a little more time than he has to. He brings out an examination flashlight and flashes it in the kid's eyes, roughly pulling up the eyelids to check response. He speaks to the nurse.

DOCTOR
How was the blood test?

NURSE
Levels are up 14% from last exam.

KID
Hey, I said I was ready. I'm here to be all I can be, right?

Again, the doctor does not answer the kid, doing his best not to make human contact. He sighs and steps back, speaking for a microphone in the ceiling.

DOCTOR
November 2nd, 1996: 1615 hours. Series 3D, proceeding with test one-two-niner-zero.

The nurse swabs the kid's forearm, picks up the syringe with blue liquid and performs the injection, then steps to the monitors and starts marking off points on a clipboard as he reads off monitor outputs for heart rate, blood pressure, EKG, EEG. The kid closes his eyes, a relaxed smile forming on his face; then his eyes open, bright, the smile growing. He flexes an arm and laughs, then starts to sit up, breathing deeply.

KID
God, I love the Army. Boom, boom, boom! Even better than last time, Doc. I can see every molecule in this room!

The kid stands up off the gurney, strong and alert, looking ready to lift off the ground.

DOCTOR
Subject is standing. Initiating tests of refl...there goes the EEG!

The kid's eyes start to glaze over. The EEG lines are going crazy, a burst of full-brain activity. The kid gasps and falls sloppily back across the gurney like a discarded puppet. The doctor and nurse burst into a flurry of activity, shouting terse medicalspeak at each other as they try to stabilize the kid with the second injection and then CPR. The doctor becomes frenzied, pounding the kid's chest even after defibrillation has failed and all the lines on the monitors are flat.

NURSE
Doctor! We've lost him. Let it go. There's nothing we can do.

The doctor hunches over the kid's empty body, sobbing with his efforts and raising his hands in despair.

DOCTOR
God in Heaven....

He turns as if released from a trap, stripping off his gloves and throwing them on the counter.

CUT TO:
2. INT: OBSERVATION ROOM
The room is dim, and filled with smoke. Cancer Man sits at a table, nursing a cigarette. The doctor storms in.

DOCTOR
My God, aren't you satisfied?! There is no reason these kids have to die like this!

CANCER MAN
These men are volunteers, Doctor: military men. They are carefully screened, and they know the risks involved. We're giving them the chance to be better soldiers--and to experience the ultimate high.

DOCTOR
Even if it kills them?!

CANCER MAN
Life is full of risks, Burstyn. It seems our volunteers know that better than you do.

Burstyn is almost hysterical, his voice breaking.

BURSTYN
I'm a doctor, for God's sake, I'm not supposed to kill people!

Burstyn pounds a fist on the table and then pulls back, sinking a hand in his hair. Cancer Man doesn't flinch, narrowing his eyes as he takes another drag on the cherished, diminishing cigarette.

CANCER MAN
But think of what we're learning here, Dr. Burstyn. Our work has progressed a great deal.

Burstyn takes a deep breath, trying to speak with Cancer Man's controlled softness.

BURSTYN.
No. This is wrong. This is not what I signed up for!

Cancer Man carefully stubs out his cigarette.

CANCER MAN
I'm afraid it is, actually. I was in the room myself when you first put pen to paper. Do you find your compensation inadequate?

Burstyn loses it again.

BURSTYN
This isn't about compensation! I'm telling you I can't do this any more! It has to stop!

CANCER MAN
How do you propose to stop it?

Excellent point. Burstyn has no answer.

CANCER MAN
There's someone you used to know: rather well, I understand. A very special agent in the FBI now.

BURSTYN
Yes, you've asked me about her before. I told you, I haven't seen her in years, I don't know anything. What does she have to do with this?

Cancer Man lights another cigarette before speaking.

CANCER MAN
There's something I want you to do for me, Dr. Burstyn. When that's done, perhaps we can negotiate a release from your contract.

Cancer Man blows more smoke into the atmosphere, as Burstyn stares at him in hollow-eyed despair.

FADE OUT.

ACT ONE

FADE IN:
3. INT: SCULLY'S APARTMENT, NIGHT
Scully works at her computer. She stops, stretches, saves what she's doing, and gets up.

CUT TO:
4. EXT: THE STREET OUTSIDE SCULLY'S APARTMENT, NIGHT
Mulder's car pulls up and halts, idling.

CUT TO:
5. INT: MULDER'S CAR
Mulder is watching Scully's window. He looks down at his watch: 8:13. With him we see Scully's silhouette against the blinds as she moves in her apartment. Mulder rubs at his face, waiting a moment longer, and moves on. Two years ago, she was still missing. Just checking.

FADE TO:
6. INT: SCULLY'S APARTMENT, NIGHT
It's about 11:00. Scully, in pajamas, is getting ready for bed, turning out lights and covering a yawn with her hand. The phone rings, and she answers it.

SCULLY
Hello?

MULDER [V.O.]
Hey, Scully!

SCULLY
Mulder?

There is loud music in the background at Mulder's end, and his voice is a little slurred.

MULDER [V.O.]
I want you bad, Scully. What say you and me go out and see what color we can paint this town on a Friday night?

SCULLY
Mulder, are you drunk?

CUT TO:
7. INT: MULDER'S APARTMENT
Mulder is on the couch; a few beers and a half-empty bottle of tequila are on the coffee table, next to a messy pile of X-rated videos. He's trashed.

MULDER
Maybe a little.

SCULLY [V.O.]
Where are you?

MULDER
At home.

SCULLY [V.O.]
By yourself?

MULDER
Ain't nobody here but us chickens.

Pause.

SCULLY [V.O.]
Are you OK? Do you want me to come over?

Mulder grins sloppily.

MULDER
Yeaahh.

CUT TO:
8. INT: SCULLY'S APARTMENT
Scully doesn't like the leer she hears in his voice.

SCULLY
On second thought, maybe that's not such a great idea. Go to bed, Mulder. I'll see you later.

She hangs up over his drunken protests.

FADE TO:
9. INT: MULDER'S APARTMENT, MID-DAY
The tequila bottle is knocked over, a little liquor remaining inside. Mulder is still on the sofa. He stirs and brings a hand to his head with a muted groan, definitely suffering. A soft knock comes at the door.

SCULLY [THROUGH THE DOOR]
Mulder?

Mulder wishes she wouldn't pound so hard, and groans again. Scully uses her key in the door and comes in. He's down on the sofa; she can't see him right away.

SCULLY
Mulder...?

He raises a hand, and she comes into the living room, walking carefully around the coffee table to sit next to him on the couch.

SCULLY
Hi.

MULDER
Hi.

SCULLY
What happened here?

MULDER
It was aliens, Scully. They came in here and made me try to drink a whole fifth of tequila all by myself. It was one of their crazy experiments, testing human limits or something. I told them they weren't going to prove anything except how stupid I am, but they wouldn't listen to me.

SCULLY
I can see that.

Silence falls.

MULDER
Look, this is really embarrassing. I'm glad you came and everything, but if all you're gonna do is sit there looking at me like something you took out of somebody's abdomen, I'd just as soon be left alone.

SCULLY
I think I can help you out, Mulder.

MULDER
I was hoping someone would.

SCULLY
My Dad wasn't much of a drinker, but he was a Navy man, and every now and then he'd come home from a night with the boys looking about like you do now. There's a special formula we'd fix for him, it was part of our family ritual for his rare morning-afters. I'll go look in your kitchen and see if I can whip up a reasonable facsimile.

She gets up; his eyes follow her out.

FADE TO:
10. INT: MULDER'S LIVING ROOM
Scully comes back in, carrying a glass of something thick and brownish-red. Mulder sits up; she hands the glass to him, and he looks at it a little doubtfully.

SCULLY
We're in luck, Mulder; I think I got pretty close.

MULDER
What's in it?

SCULLY
If I tell you, you won't drink it. (pause) Try to get as much down as you can. It'll clear your head a little and settle your stomach.

Mulder takes a tentative sip, then gulps down most of the glass. Scully watches him, still standing. He sits up all the way, shaking his head and setting down the glass. His voice is clearer now.

MULDER
Wow. I almost feel like a human being again.

SCULLY
Can you get up? The next step is a shower and clean clothes.

She offers him an arm, and he leans on her as he stands and then pads off unsteadily towards the bathroom.

MULDER
Thanks.

She watches him go, speaking almost under her breath.

SCULLY
No problem, partner.

She looks around the room, shaking her head.

CUT TO:
11. INT: MULDER'S APARTMENT
Scully has cleaned up the living room while Mulder showered. Now they're on the couch with coffee (mint tea would be better for him, but he may not have any).

SCULLY
Mulder, do you remember calling me last night?

MULDER
Vaguely.

SCULLY
You asked me out, Mulder. Did you mean it or was that the booze talking?

MULDER
Guilty on both counts. I think I figured if I was wasted you'd be turning me down for a good reason.

SCULLY
What made you so sure I'd turn you down?

MULDER
Come on, Scully. We work together. It's not generally considered a good idea. It's not like either of us has been open to the suggestion before, either.

SCULLY
What do you think would happen if I asked you out?

MULDER
Drunk or sober?

SCULLY
Just like this. Right now. Mulder, do you have any plans for this evening?

Now she's got his attention.

MULDER
I do now. What did you have in mind?

SCULLY
Oh, I don't know. There's a little Armenian restaurant I've been wanting to try. What do you say?

MULDER
You're serious.

SCULLY
Mm-hm.

Mulder takes this in for a second.

MULDER
If I knew tequila worked this well I would have tried it sooner.

SCULLY
It wasn't the tequila, Mulder, it was your way with words. "I want you bad, Scully"??

They both laugh, then get serious; Mulder reaches a tentative hand to touch her face. They lean towards each other for a careful kiss, and part to look at each other again, neither of them entirely sure about this. Scully smiles a little, moves a hand to Mulder's knee and pushes to her feet.

SCULLY
Think you'll be ready to pick me up at, say, 7:00?

MULDER
Sure.

Scully starts to go out.

MULDER
Scully...?

She turns back toward him.

MULDER
Who's paying?

She smiles, thinking a second.

SCULLY
You are: I think you owe me one. See you at seven, partner.

She goes, leaving a bemused Mulder behind.

FADE TO:
12. INT: RESTAURANT
It's a cozy place, intimate but not too romantic. Mulder and Scully already have their meals, and are laughing as they talk. Neither of them is particularly dressed up: they both want to keep this low-key.

SCULLY
You should have seen his face when Leslie told him...!

The laughter dies down into a quiet moment of looking at each other, which could become awkward if somebody doesn't do something. Mulder looks away for a distraction and notices a guy near the entrance, looking rather conspicuously lost: Burstyn from the Teaser, in a suit now. Mulder gestures toward him.

MULDER
There's a guy who looks like he's not sure what he should do next.

Scully looks up and is astonished: she recognizes him.

SCULLY
Oh my God, that's...

MULDER
You know him?!

SCULLY
Just a second...

Scully gets up and goes towards Burstyn. He looks up and she slows; then he sees her and his face lights up:

BURSTYN
D?!!!?

Scully lifts a brilliant smile, and runs to him.

SCULLY
Kenny!!!

They have a big, laughing, happy hug.

BURSTYN
What are you doing here?

SCULLY
What am *I* doing here?! You're the one who fell off the face of the earth! Whatever happened to you? You stopped answering my letters, and nobody knew where you were.

BURSTYN
I was kind of holed up for a while.

SCULLY
How's Jan?

Burstyn's face darkens for a moment..

BURSTYN
She left me a couple years ago. Couldn't stand the pressure.

SCULLY
I'm sorry.

BURSTYN
That's OK, it was over a long time ago. (pause) God, it's good to see you again, D. The best thing I've laid eyes on in a long time.

Mulder can't just watch this, and gets up to join them. He doesn't like Burstyn's hungry look as the other man takes Scully in almost palpably with his eyes. Scully steps back and puts a hand on Mulder's arm.

SCULLY
Mulder! This is Kenny Burstyn. We were study buddies in Med School.

The two men shake hands.

SCULLY
We were recruited into the Academy together, but Kenny opted out after the first year. Kenny, this is my partner at the Bureau, Fox Mulder.

Burstyn does a double take.

BURSTYN
The Fox Mulder?

MULDER (drily)
In the flesh.

BURSTYN
You were like a mythical figure to us in the Academy; it's wild to meet you like this.

MULDER
Kind of spooky, isn't it?

Awkward silence for a brief moment, 'til Burstyn shrugs it off with a laugh and turns back to Scully.

BURSTYN
So you've got your career with the FBI. Are things good, D?

Scully looks at Mulder and moves as if she's going to put her arm through his, but clasps her hands in front of her instead. This is still clandestine.

SCULLY
Yeah, things are good, Ken. What about you? Are you living in Washington now?

BURSTYN
No, I'm here on business. I work for a pharmaceuticals company. Actually, I'm supposed to be meeting somebody. It's a little embarrassing, I think I'm in the wrong place. I'd better be going. I'm late already, and I'm keeping you two from your dinner.

He moves to go.

SCULLY
Wait, Ken, don't just walk out on me. At least give me your address or something.

Burstyn looks at Mulder and then back at Scully with a strangely tense smile, almost challenging.

BURSTYN
Hey, you're FBI, you can look me up, right?

SCULLY
It doesn't work like that, Ken. I've got pen and paper in my purse, I'll be right back.

She touches Mulder's arm again as she goes back to their table. Burstyn's eyes follow her like a lifeline.

MULDER
So you guys were pretty close.

BURSTYN
As close as anyone ever got to Dana Scully. She was so determined.... I guess we all were. (pause) Does she still tell the worst dirty jokes known to mankind?

Reaction: What?!

MULDER
Not to me.

Burstyn isn't really paying attention, his eyes haven't left Scully. Mulder's gaze follows Burstyn's.

BURSTYN
God, she looks terrific.

Scully comes back up.

SCULLY
How long will you be in town, Ken?

BURSTYN
A few days, maybe longer. It depends on how things go.

She hands him a card.

SCULLY
This is a number where you can reach me. Where are you staying?

Burstyn hesitates a second.

BURSTYN
The Sheraton. I never know where I am when I travel.

SCULLY
Promise me you'll call. Maybe we can get together over coffee or something and catch up. I want to find out what you've been up to.

BURSTYN
Look, I'd really better get to where I'm supposed to be. It's great to see you again, D.

He gives her another hug. Scully pulls back first.

SCULLY
Call me.

He's a little choked up.

BURSTYN
All right, all right.

He shakes Mulder's hand again.

BURSTYN
Good to meet you, Mulder. Sorry to break up your dinner.

MULDER
That's OK. It was educational.

Burstyn leaves; Scully watches him a moment before turning to go back to their table, Mulder following.

MULDER
So what's this I hear about you and dirty jokes?

SCULLY
What do you mean?

MULDER
Kenny tells me you're an old hand with off-color humor.

Scully has to think a moment to figure this one out.

SCULLY
Oh, that.

They have reached the table, and sit down.

SCULLY
You've been misled, Mulder. We used to make up limericks to help us study: "There once was an enzyme from the pancreas...." (grin) Maybe I did get carried away sometimes. God, Kenny Burstyn. I thought I'd never see him again. He was a special friend.

MULDER
How special?

She looks at him.

SCULLY
Med School was an intense time. Recruitment to the Bureau was a big decision for me, especially after I told my parents I was considering it. Kenny lent me his shoulder to cry on a few times, that's all. He was seeing someone else; they got married right before we started at the Academy. (pause) This is sweet, Mulder: it's our first date and you're jealous already.

MULDER
I'm not jealous, just wondering what I'm doing here. I've never seen you like that before.

SCULLY
Like what?

MULDER
I don't know: excited. Happy.

SCULLY
Come on, Mulder, he's an old friend. If I hadn't seen you in four or five years I'd react the same way.

He doesn't reply.

SCULLY
Listen, I want to be here with you. I asked you out, remember?

MULDER
That was just charity, because I made a fool of myself and you didn't want me to feel bad.

SCULLY
Don't sell yourself short, Mulder. You know better than anybody what I've been through in the past few years. Working with you has changed a lot of things for me.

Mulder changes the subject before this can get mushy.

MULDER
I didn't like the way your "old friend" was looking at you.

SCULLY
Mulder....

MULDER
No, this isn't a testosterone thing. You've trusted my instincts before: they're screaming about good ol' Kenny. He looked desperate, hungry. That guy's got something riding him, Scully, and he thinks you can get him out from under it.

Scully makes an effort to swallow her irritation.

SCULLY
OK. What do you think he's up to?

MULDER
I don't know yet. But the man lit up when he saw you like he'd just found his angel of mercy--or his sacrificial lamb.

Scully eyes him with mixed feelings.

SCULLY
Mulder, you've got that look.

MULDER
What look?

SCULLY
Going on a lion hunt. (pause) Please, don't turn Kenny into an X File just yet. I must not trust him either; all I gave him was my cellular number. Is there any hope left for us having a good time tonight?

Reaction.

CUT TO:
13. EXT: STREET OUTSIDE SCULLY'S APARTMENT, NIGHT
Mulder's car pulls up.

CUT TO:
14. INT: MULDER'S CAR
Scully undoes her seatbelt.

SCULLY
Do you want to come in for some wine or something?

MULDER
I'd better take a raincheck. There's some work I want to do.

SCULLY
Like digging up Kenny's dirt.

Silence.

SCULLY
Is there anything I can do to stop you?

No answer to this mostly rhetorical question.

SCULLY
I suppose I could try seducing you, but I don't think I'm ready for that yet.

This gets an astonished smile from Mulder.

SCULLY
My credentials probably don't qualify me for the assignment, anyway: I'm not exactly one of your bikini babes.

He puts a hand to her face.

MULDER
You don't have to be.

He leans over and they have a slow kiss.

MULDER
I'd like you to try some time.

SCULLY
I'll see what I can come up with.

She takes another kiss, her hands on him; then she pulls back with a sigh.

SCULLY
Good night, Mulder.

She opens the door and gets out, then leans back down.

SCULLY
It's Burstyn with a "y". Let me know what you find out about my old friend.

She shuts the door and goes in to her apartment.

FADE OUT.

ACT TWO

FADE IN:
15. INT: SCULLY'S APARTMENT, NIGHT
Scully has changed into slacks and a big shirt and is curled up on her sofa with a magazine, a glass of wine on the coffee table in front of her. Her gun in its holster rests next to the glass. A knock comes at the door. She picks up her gun and goes to see who it is. She looks through the peephole: Burstyn, carrying a cheap bouquet and looking nervous. She slides the gun into the back of her pants, unlocks the door and opens it, but doesn't let Burstyn in yet.

BURSTYN
D, thank God you're home! I have to talk to you.

SCULLY
Kenny, how did you find me? I didn't give you my address.

Burstyn looks around anxiously.

BURSTYN
None of that matters. Please, let me in!

Scully hesitates and then moves out of the way, putting a hand to her gun as Burstyn pushes past her. She locks the door behind him. He extends the flowers.

BURSTYN
Here, these are for you. I wanted something special, but this is the best I could do at this hour.

SCULLY
Thanks.

She takes the flowers and goes with them into the kitchen. Burstyn sees the gun in the small of her back. Somewhat mechanically she gets out a vase and puts the flowers in water, while Burstyn gets more uncomfortable. Scully leaves the flowers in the kitchen, not giving them sanction by bringing them out to the dining table. She does not offer Burstyn a seat.

SCULLY
What are you doing here, Ken?

BURSTYN
Do you always wear a gun around the house?

Scully waits for an answer to her question.

BURSTYN
Could--could we sit down, please?

Scully pulls out a chair for Burstyn at the dining table, then goes to sit across from him. He takes off his coat, drapes it over a chair and sits down.

BURSTYN
Dana, I'm in trouble. I've gotten involved in something that really scares me. The company I work for...they've been doing experiments with a new drug: unethical experiments, unregulated tests. People are getting hurt.

SCULLY
What kind of a drug, Ken?

He fishes in his jacket pocket and carefully brings out a vial in a plastic bag, holding some of the blue liquid injected into the unfortunate subject in the Teaser, and hands it to her.

SCULLY
What is it?

BURSTYN
That's what I'm hoping you can tell me. I'm not privy to the recipe.

SCULLY
I can ask for an analysis....

Burstyn stands abruptly, agitated.

BURSTYN
No! No one else can see it. It's too dangerous.

Scully eyes him, still seated.

SCULLY
How deep into this are you, Ken?

Burstyn paces into the living room, away from Scully's carefully established neutral territory at the table.

BURSTYN
It's a classified project, camouflaged from regular oversight.

Scully reluctantly gets up and follows him.

SCULLY
Is it a project you are personally involved with?

Burstyn's back is to her as he answers.

BURSTYN
I just saw what happened to some of the test subjects.

He shudders, and turns around.

BURSTYN
I'm working now to get away from all of it. That's what counts. Dana, will you do this for me?

SCULLY
Do what, Ken? I don't understand what you want to accomplish here. If you're trying to expose illegal practices at your company, doesn't that job belong to the FDA? Why bring this to me?

BURSTYN
Because I'm scared, D. The FDA means nothing to these people. The government doesn't exist for them. You don't know what they can do.

Oh, yes, she does.

SCULLY
I may have an idea.

BURSTYN
I just don't know where else to turn. Dana, you're the truest person I've ever known. All I want is a chance to start over!

He stretches out his arms, starting to break down.

BURSTYN
I've made so many wrong turns I don't know where I am any more. We used to know, D, we used to know what we were about! We were going to be doctors, we were going to heal people. And then we were going to help the government stop evildoers, save the world or something, I don't know what we thought the FBI was supposed to be.

His pain and despair are getting to her.

SCULLY
I do know, Ken. I'm living that.

Burstyn begins to sob, falling into a chair, his head in his hands; Scully goes to comfort him, bending her head toward his as he buries his face in her shirt.

CUT TO:
16. EXT: STREET OUTSIDE SCULLY'S APARTMENT, NIGHT
Mulder pulls up and parks, gets out of the car--and sees a second person inside Scully's apartment (we're backtracking in time a little). Scully's drapes are pulled back and the blinds open, but their edges obscure the view from outside. Mulder warily goes up to the window and looks in, just in time to see what looks like Burstyn's mouth at Scully's breast, her arms around him. He stands transfixed a moment, then unthinkingly places a hand on the window and balls it into a fist. The motion catches Scully's eye, and she looks up; their eyes meet, and he snaps away in anger.

CUT TO:
17. EXT: OUTSIDE SCULLY'S APARTMENT, NIGHT
Scully flings open her front door and runs out into the street as Mulder is getting into his car.

SCULLY
Mulder!

He starts the engine, not looking at her.

SCULLY
Dammit, Mulder, listen to me!

She bangs her fist on the top of the car as he peels out; he stops at the corner and comes back. Scully's in his face before he's completely out of the car; she jabs an arm back towards her apartment.

SCULLY
What do you think you saw back there?!?

He slams the car door shut.

MULDER
I don't know! You tell me!

SCULLY
The man is having a breakdown in front of me, and you want me to stand across the room offering disinterested advice?!

Mulder knows he's being irrational, but the buttons have been pushed and for the moment he can't stop it. In the background, Burstyn appears in the open doorway.

MULDER
You've never done anything like that for me.

SCULLY
You've never given me reason! The only time you ever reached out to me for something was when I was in a coma, for God's sake!

A moment's silence as they both calm down.

SCULLY
All right. What did you come here to tell me? It must be bad if you think the phone isn't safe.

She hugs herself and looks back to see Kenny still standing in the door, watching them. Mulder follows her gaze, and his face hardens.

MULDER
That old friend of yours. He didn't drop out of the Academy: he got recruited. He doesn't work for any pharmaceuticals company, he works for the people who put you in that coma!

Scully absorbs this for a moment.

SCULLY
He's definitely running from something: he's scared to death.

She glances back at Burstyn in the doorway.

SCULLY
He brought me a sample of some drug he says they're doing illegal tests with. He wants me to analyze it, but he doesn't want anybody else to know about it. Reading between the lines, I'd say it's killing people and he can't stand it any more.

MULDER
Don't trust him, Scully.

SCULLY
I don't. I didn't give him my address, he just showed up.

MULDER
He's not here on his own.

SCULLY
I know. There's too much he's not telling, and he's not a very good liar. (pause) What should we do?

Mulder speaks deliberately, through clenched teeth.

MULDER
What I want is to engage him with terminal intensity. I've seen it done.

SCULLY
No, Mulder, that's not the way. Do we risk sending him away to report back to his employers, or do we keep him here? Do I pretend everything's OK and let him sleep on my couch, or do we tie him up and stick him in a closet?

MULDER
If he stays, so do I. I'm not leaving you alone with him.

SCULLY
At least he's still waiting at the door, not wandering around in my apartment or accessing my computer. He can't be much of a professional.

They both look up at Burstyn, and then at each other.

SCULLY
This is not how I wanted this evening to go, Mulder.

They turn and start to go in.

CUT TO:
18. INT: SCULLY'S APARTMENT
Burstyn faces Scully across her dining table, Mulder standing behind him.

SCULLY
All right, Kenny. You say you're in trouble and you need my help. But you're not telling me the truth, and I can't trust you. I'm going to pull my gun on you now. Do me a favor and don't make any sudden movements.

She reaches behind her for the gun and aims it at Burstyn's right shoulder. Mulder moves further out of the line of fire, but still behind Burstyn.

SCULLY
Empty your pockets on the table, please, Ken.

He mutely starts to do so, hands shaking a little.

SCULLY
Mulder, would you go through his coat? It's there on the chair.

Mulder complies as Scully speaks her next lines. Without any prompting he then examines the items on the table: rental car key ring, hotel key; wallet holding credit cards, i.d. and some cash; gum, comb, a couple pens (which Mulder opens up, looking for bugs), pager, cellular phone.

SCULLY
Ken, you haven't told me enough about why you're here. And you lied to me about your job. I have reason to believe that the people you work for are the same people who nearly terminated me in another one of their "unregulated experiments" last year. I think you'll understand if I have some hard feelings about that. Mulder wasn't too thrilled about it, either. That's why I'm the one holding the gun. He wanted to blow your head off; I just want to talk to you.

Mulder looks up at her, and she gives him a grimly teasing smile. It has the desired effect: he relaxes somewhat. He searches Burstyn and finds a small case in his inside jacket pocket, holding two hypodermic needles and some of the clear liquid from the Teaser.

MULDER
What is this?

Burstyn looks at Scully as he answers.

BURSTYN
It's the counter-agent.

MULDER
Why do you have it?

BURSTYN
Dana, I told you, it's dangerous!

SCULLY
Then why didn't you give me this when you gave me the other? Why two needles, Ken?

Burstyn hangs his head.

BURSTYN
I was just trying to be careful. So much has gone wrong.

Scully gives him a moment, but he doesn't volunteer any more information.

SCULLY
Are those car keys for real?

BURSTYN
Yes.

SCULLY
Is the car outside?

He nods.

SCULLY
OK. Let's wrap all this stuff up in the coat and lock it in the car for safekeeping, along with the keys.

Mulder starts to gather everything into the coat.

BURSTYN
Dana....

SCULLY
Are you wired, Ken? Something we wouldn't have found?

He chokes.

BURSTYN
No...I don't know.

SCULLY
What do you think, Mulder, do we need to get rid of his clothes to be sure? Then we'd be down to some kind of implant. I really wish these people had better things to worry about.

MULDER
If they're listening they've heard enough already to know what's going on. I'd vote against making Kenny strip if it's all the same to you.

SCULLY
All right, Ken. Take off your jacket and give it to Mulder with your shoes, your belt and your tie, and we'll leave it at that.

Burstyn, nearly in tears, starts to remove his jacket.

CUT TO:
19. INT: SCULLY'S LIVING ROOM
Burstyn is sitting in one of the chairs, tieless and in stocking feet, Mulder opposite him on the couch. Scully comes in with a glass of orange juice in one hand and her gun in the other, hands the juice to Burstyn and sits down next to Mulder. Burstyn takes a grateful sip of juice, relaxing in a numb kind of way.

BURSTYN
I didn't know what I was getting into when I started. It sounded like a chance to do real medical research, no worries about funding, cutting-edge projects.

SCULLY
What kind of a drug is it, Ken?

BURSTYN
They want a better soldier: one who doesn't get tired, who has no fear, with unfailing reflexes and sound judgment, always in control. So we were working on blood chemistry and brain function. Our initial results were pretty encouraging: heightened sensory acuity, extended endurance, enhanced observational and analytical abilities. The volunteers think they're getting the trip of a lifetime.

MULDER
What went wrong?

Burstyn withdraws again, plunging a hand in his hair.

BURSTYN
The effects didn't last long enough. It's not practical to have to keep injecting your soldiers, especially when they're out in the field. Ideally you'd want some kind of internally regulated production system, like an organ secreting a hormone, but you can't just tell the body to make a new organ for you. (pause) They took the research away from us for a hiatus, and when they gave it back they wouldn't let me analyze it. At low doses the results were only slightly up from before, but over time the injections started acting like a trigger for something more massive. Then they increased the dosage, and we started losing subjects. The physical stresses are too much: the brain overloads with electrical activity, and the heart just gives out. (pause) It's horrible.

SCULLY
What do you find in the post-mortems?

Burstyn shakes his head.

BURSTYN
I don't do that part. They don't show me the reports.

Pause as Scully and Mulder take this in: Burstyn has been performing "research" he now knows nothing about. What kind of a pawn is he, and how desperate is he?

SCULLY
Why did they send you to me, Ken? What do they want?

BURSTYN
They want you to analyze it, like I said. And they want a blood sample from you. I don't know why.

Scully waits again, giving him a chance to tell her the rest. He does not oblige.

SCULLY
What are you supposed to do if I refuse?

Burstyn just opens his mouth and shuts it again. Mulder gets up and takes a step toward him.

SCULLY
Ken....

BURSTYN
I'm supposed to tell him.

MULDER
Tell who?

Burstyn is miserable and a little defensive.

BURSTYN
My supervisor. I don't know his name. He just sits in there with his damn cigarettes, observing.

Mulder swings around and collars Burstyn in anger.

MULDER
Who is he?! What does he want with us?

BURSTYN
I'm telling you, I don't know! He doesn't tell me what he wants, he just tells me what to do!

MULDER
What's in it for you? What do you get when you're done with Scully?

Burstyn finally gets angry.

BURSTYN
I...get...out!

Mulder lets go of him in disgust. Scully stands up.

SCULLY
Ken, I have to talk to Mulder for a minute. Can I ask you not to get up from that chair? I don't want to have to tie you up.

Burstyn nods, looking balefully at Mulder.

CUT TO:
20. INT: SCULLY'S BEDROOM
Scully and Mulder confront each other.

MULDER
What do you think you're doing?

SCULLY
I'm trying to control our situation here. We have to know what we're dealing with. (pause) I'm sorry, Mulder, but it's your turn. There are things you know that I don't. You haven't told me what happened to you after I was abducted and before I came out of my coma, and I haven't asked. Now I need you to tell me. Who are these people? And where do you stand in all this?

MULDER
I don't know any more than Kenny does. That man, Cancer Man, who sits in the back of every meeting, smoking and listening: he's the source, the link. Skinner knows, but he won't give me a name. I had my chance, and I didn't take it. I couldn't, not on his terms.

Scully doesn't like pushing Mulder this way. He's not enjoying it too much, either.

SCULLY
Skinner told me you tried to resign.

MULDER
You were lying in that hospital, all because I thought I had to know the truth, thought there was something I could know. You were going to die because of me, and there was nothing I could do to change any of the lies!

SCULLY
How far did you go? How far were you going to go?

He hesitates.

MULDER
Did your sister tell you anything?

SCULLY
She tried, but I wouldn't let her.

MULDER
I was given an opportunity. People were supposed to be coming to my place for information they thought I had about what happened to you. I was supposed to stop them. I was waiting with the lights out when Melissa came to tell me the doctor didn't think you'd make it.

Scully stares at him, astonished.

SCULLY
Mulder, that's crazy! The light from the door would blind you, they'd locate you with your first shot and it would be all over. Who would tell you to do that?

MULDER
I have a friend in the FBI. (pause) Dana, there's no one I can trust but you.

Scully decides to say one more piece.

SCULLY
As long as we're talking about it, let's get one thing straight: you are not responsible for what happens to me because we work together. The FBI assigned me to the X Files, you didn't ask for that; and nobody forced me to believe in you, that was my choice. I'm your partner. Bureau or no Bureau: I choose that, too. (pause) The truth isn't just about Fox Mulder any more. OK?

MULDER
OK.

He takes her in his arms, cherishing her close (and shutting her up).

FADE OUT.

ACT THREE

FADE IN:
21. INT: SCULLY'S LIVING ROOM, MORNING
Burstyn is still in the chair, with a blanket and pillow. Awake now, he is watching Mulder and Scully who have fallen asleep on the sofa, Scully's head on Mulder's shoulder. Tenderness, worry and determination chase each other across Burstyn's face. Mulder startles awake, not having intended to sleep, and his movement wakes Scully up as well. She sits up, a little bleary. Burstyn is quiet and calm now.

BURSTYN
Good morning. Did you sleep well?

Scully ignores his sarcasm, pushing to her feet with a hand on Mulder's knee.

SCULLY
I've got some work to do today.

CUT TO:
22. INT: FBI LAB
Burstyn (wearing a too-small pair of no-heeled fluffy slippers Scully lent him) is taking a blood sample from Scully's arm, while Mulder watches. Burstyn removes the needle and Scully places a cotton ball on the insertion point, curling her arm over it. Mulder puts a hand on her shoulder and she looks up at him, smiling a little. Burstyn pockets the blood sample.

BURSTYN
Thank you.

Scully takes the vial of blue stuff out of a pocket.

SCULLY
Where do we start, Ken? What can you tell me about what's in this?

BURSTYN
When they took it away it was mostly biochemical: experimental neurotransmitters, endorphins, serotonin regulators, plus some things we cooked up to stimulate receptors and build up synaptic connections. What it was when it came back, I don't know.

SCULLY
Is there anything else you can give me? Did you bring any of the research with you?

Burstyn shakes his head. Scully looks at Mulder, then incredulously back at Burstyn.

SCULLY
This is ridiculous. I don't know what they expect me to find, working by myself, with only the barest idea what I'm looking at. It doesn't make sense, Ken. This can't be why they sent you to me.

Burstyn spreads out his hands.

BURSTYN
I told him you wouldn't believe it.

Scully thinks a second.

SCULLY
Even if all they want is to intimidate us with a hint of what they're doing--I have to take a look.

Scully takes a lab coat off a hook and shrugs it on.

FADE TO:
23. INT: MICROSCOPE SLIDE
In the blue liquid we see a recognizable cell, visibly pulsing and pumping something out into the solution.

CUT TO:
24. INT: FBI LAB
Scully sits at a microscope, peering intently at the slide we just saw. Mulder stands guard over Burstyn on the other side of the room.

SCULLY
This is incredible. I didn't expect to find anything in this, not after we got an idea of its composition. It can't be, but this is a cell. Look at this.

She backs away from the microscope. Both Mulder and Burstyn move toward her, but Mulder gets there first.

SCULLY
It's a living cell. In a chemical environment that should be toxic to a single-celled organism, it's not only alive but it's still producing the soup it shouldn't be able to live in, much less secrete! Ken, you should see this.

Mulder grudgingly lets Burstyn in.

SCULLY
That's your internal means of production, Ken. They don't need an organ: these things will lodge in the receptor areas in the brain and just keep cooking up more of your chemical enhancements. The immune system won't attack them in the brain; so long as they can sustain themselves in the subject, you've got your source.

BURSTYN (a little too eager)
What they have to do now is control the intensity of the reaction as they build up the substance levels in the system.

MULDER
What's really scary is if they succeed.

Reaction.

FADE TO:
25. INT: FBI LAB
Scully is still working at the microscope. She drops a little liquid onto a slide, covers it and puts it under the lens, looks at it and makes some notations in an open notebook. Mulder and Burstyn are still standing off to a side, Mulder dividing his attention between Scully and Burstyn, who is doing some analysis of his own. Burstyn stops, looks up at Scully pensively, then says something to Mulder. Mulder goes over to Scully.

MULDER
I'm taking Kenny to the little boys' room. Be right back.

SCULLY
Knock yourselves out.

Intent on her work, Scully hardly looks up as the two men go out.

CUT TO:
26. INT: MEN'S ROOM
Burstyn is drying his hands. Mulder's feet are in a stall. Burstyn throws away the towel and then makes a strange motion with his right elbow and wrist. We hear a snicking sound, and Burstyn looks down at his right palm: it now cradles a small metallic disk. Mulder flushes and comes out to the sinks to wash his hands. The two do not speak to each other. When Mulder turns to the paper towels Burstyn reaches up with a rapid motion and slaps his right palm on Mulder's temple: we hear a sharp buzz, and Mulder spasms and slumps as Burstyn catches him and lowers him to the floor, unconscious. Burstyn checks Mulder's pulse, tight-lipped, then gets up and goes to the sink. He shakes the disk off his palm into the drain and runs water over it, watching it dissolve and flush away.

CUT TO:
27. INT: FBI LAB
Scully doesn't look up as the door opens, doesn't see that it is Burstyn, alone.

SCULLY
Mulder, take a look at this.

Burstyn, his face a determined blank, fishes with his left hand in his pocket and brings out a handkerchief which he squeezes in his hand. He comes behind Scully, putting his right arm across her from shoulder to shoulder and holding her immobile against his chest as he presses the handkerchief over her mouth and nose with his left hand.

BURSTYN
Just breathe, Dana. They promised me it wouldn't hurt.

She tries to speak, but she, too, slumps in Burstyn's arms. She is not unconscious: she stares into space with glazed eyes, and makes a vague gesture with her hand (one's mind can be a fascinating place when looked at from the inside). He slides her to a sitting position on the floor, leaning her against the cabinet. He satisfies himself that she's OK, then stands and collects all of her notes and research materials, making sure he has all of the sample and the counter-agent. He gets a blood kit out of a cupboard, then squats to take another sample from Scully's arm, fumbling a little. The sample secured, he sits looking at her a second, touches her face and brushes her hair with his fingertips. Her eyes turn toward him and move away, unseeing.

BURSTYN
Best thing I've laid eyes on in a long time. I'm sorry, D. I hope things work out for you and Mulder.

He gets up, gathers all of the materials, and leaves.

FADE OUT.

ACT FOUR

FADE IN:
28. INT: FBI LAB
Scully's eyes are closed now, and she has slumped the rest of the way to the floor. Mulder bursts in and goes to her, enormously relieved that she's still there but afraid of what condition she might be in. He feels for a pulse, and tries to sit her up.

MULDER
Dammit, Scully...!

Her eyes flutter open, and she puts a hand to her head.

SCULLY
Mulder...?

MULDER
I'm here. Kenny knocked me out with something. What happened? You were hardly breathing.

SCULLY (bleary)
Ken put something on my face...I don't know.

Mulder looks around the lab, notes the missing materials.

MULDER
All your work is gone--he must have taken it. Are you OK?

She sits up a little, her voice clearing.

SCULLY
I think so. My vision's a little blurry....

FLASH TO:
29. INT: VISIONSCAPE
We see the interior of another lab, from the perspective of someone on a gurney (Scully); turn to see an alien (a.k.a. E.B.E.) strapped down on a table, and a lab-coated individual wearing gloves and a mask drawing something out of its arm in a syringe and walking towards the camera to inject it into Scully.

FLASH TO:
30. INT: FBI LAB
Scully grips Mulder's arm in shock at what she's seen.

SCULLY
Oh my God, Mulder--I think I'm remembering....

She looks up at him, then turns her eyes away to "watch" the memory/vision some more.

FADE TO:
31. INT: SKINNER'S OFFICE
Cancer Man sits on the couch, not smoking for once. Skinner paces angrily in front of him.

SKINNER
We had a deal, "Cancer Man"! You didn't ask this time!

CANCER MAN
An unhappy subordinate provided an opportunity to perform a test. I took it. It was a personal matter.

SKINNER
I don't care how "personal" it was, you are not to manipulate my agents! You are not to involve them in your operations without full cognizance by the Bureau.

CANCER MAN
Consider me a fractious teenager, Walter. I didn't ask because I knew you wouldn't give permission.

As he gets up to leave, he takes out his lighter and cigarettes and starts to light one, but stops before connecting the flame.

CANCER MAN
What I don't understand is why you think you can protect them.

He lights the cigarette and goes out.

CUT TO:
32. INT: FBI HEADQUARTERS HALLWAYS
Mulder and Scully are walking together.

SCULLY
I'm still not sure whether it was really recall or just a hallucination.

MULDER
Whatever it was, Dr. Daly didn't seem to think it hurt you.

SCULLY
I don't know. That was a pretty elaborate setup, just to get some of my blood and give me a vision.

MULDER
I think your guess was right. They want to intimidate us: make sure we know what they're capable of, and how close they can get to us.

CUT TO:
33. INT: X FILES OFFICE
A large, elegant bouquet stands resplendently in a crystal vase on Scully's desk, and the slippers Burstyn was wearing rest beneath the flowers. Scully and Mulder enter, see this, and exchange a look as Scully goes to open the bouquet's card. We see the inscription as Scully reads it aloud:

SCULLY
"D-- Thank you --K".

MULDER
Do you think it's really from him?

SCULLY (thoughtful)
I hope so.

Reaction.

FADE TO:
34. INT: BLACK SCREEN
[We could also just be looking at a door or something, but the point is: we're not watching this.] Sounds of kissing and lovers' vocalizations. The following lines are muffled by kisses on mouth and skin.

SCULLY (facetious)
So how many kids do you want, Mulder?

MULDER
Fifty-seven.

SCULLY (laughing)
Right now?!

MULDER
Right now.

Scully laughs again, and they get back to business for a minute. Maybe the sound of a zipper being undone.

SCULLY
Why do you have to have so many clothes on?

They both laugh.

FADE OUT.

THE END


This last scene could easily be omitted. I wrote it to get the "So are they gonna do it?" question out of the way quickly, and to indicate that this is a) not entirely our business; b) fun and not a Big Deal; and c) as such (both a & b) won't likely be changing the tone of the show much. Since this is fanfic, I can do anything I want to, right?


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