Review By: Gothic Spook "The car accident, Brad. Dana and Monica were in it with me. I killed them. " - John Doggett What the hell is John talking about? Did Dana do the right thing in trusting John Montgomery to protect her two closest friends? What will Brad do once he's back in DC and finds Monica missing? Who can they trust? It looks as though Monica should have trusted ALL of her visions and now Dana must find a way to save Monica and herself! Read on and enjoy the season premier of the "Fox & Rat" Virtual Series!

Title: "mea culpa"
Story by: Cassie & Kristi
Written by: Kristi & Cassie
Date: December 2002; April 20-21, 2003; May 8,9, 2003 January 19-20, 2004; March 9,11, 2003; April 7, 2004; May 29, 2004; June 20, 2004; July 6,8,9 2004
Air Date: September 6, 2004
Rating: PG
Series: FRVS - Episode #124
Spoilers: Past episodes of FRVS may be spoiled.
Feedback: We love it. There is a form at the bottom of this story that you can use to send us feedback. Thank you.
Archiving: "Fox & Rat" Virtual Series only!
Disclaimer: We do not own anyone. They belong to Chris Carter, Ten-Thirteen Productions, and 20th Century FOX Broadcasting.
Author's Note: The personalities of the characters within the world of "Fox & Rat" are not those you know from "The X-Files" television series. We have warped them and given them a common past, immature behavior and a sense of humor. Any horrid behavior should not be mimicked in your every day life.
Summary: It is written, so shall it be done...

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Previously on “Fox & Rat”: John Doggett has been hit by a speeding car, and the driver is Alex Krycek - who is doing dirty work for the Cigarette-Smoking Man. Krycek continues his lying and betrayal of his friends, and attempts to kill Monica. Luckily Monica has been having psychic visions and forsees Krycek's evil plan, and she gets the better of him. She tries to call Brad for his help, but his cell phone is turned off as he works on a case in New York. However, Brad's suspicions of the case remain high, and once he hears Monica's message, he heads back to D.C. without Headquarters knowledge. Monica uses her special gift and helps Doggett out of his coma so they can escape from Krycek and seek the help of their most trusted friend, Dana Scully. But when they find her, she is with Krycek - who is putting on a "sympathize act". Luckily for Scully, she believes Monica and John's claim of Krycek being bad and sides with them and brings them to someone she can trust: John Montgomery. But can she trust him, or is he working with the Cigarette-Smoking Man? With a hint of unsureness, Scully hands her friends over to John Montgomery...

TEASER

 

BRIGHT WHITE LIGHT FADE IN:

INT. EXAM ROOM

John Doggett lies shirtless on an exam table in the cold pristine white examination room. The florescent lights above him warm his cool skin. The door to the exam room opens and Dana Scully enters, wearing a white lab coat, with her hair pulled back. John Montgomery enters behind Scully. Doggett watches as Scully prepares a syringe with an unknown substance.

We see Doggett say something to her, but we can not hear him. Scully’s voice over takes over all sound, as we enter her inner monologue.

DANA SCULLY (V.O.)
I don’t regret the choices I’ve
made or the work I have done
which has brought me here. I know
that I am the only one who can contribute
to saving the human race even if that
means risking the lives of those I love.

Scully makes her way over to Doggett, and smiles weakly at him. The look on her face lets us know she’s not happy with what she has to do. She injects his temple with a syringe as she holds his hand, both of them sharing the same emotional pain.

DANA SCULLY (V.O.)
Would this situation have ever happened
if I never loved John Montgomery? If a
‘yes’ had been a ‘no’, and if I had refused
a proposal of both marriage and power, where
would we find ourselves today?

FADE OUT:

END TEASER

ACT ONE

24 HOURS EARLIER

FADE IN:

EXT. RONALD REAGAN WASHINGTON NATIONAL AIRPORT
WASHINGTON, D.C. – 5:20 A.M.
MARCH 16, 2004

The pavement is wet from the night’s drizzle as Brad Follmer exits the airport, carrying a small duffel bag in his hand. He pulls out his cell phone as he hails for a cab. He dials Monica’s cell phone number hoping she’ll pick up. Worried and panicked is an understatement for what he’s feeling. Monica is only four weeks pregnant and Alex Krycek is trying to kill her. Once again, Brad gets Monica’s voice mail.

Frustrated, he ends the call.

BRAD FOLLMER
(frustrated)
Shit.

An old lady standing next to him over hears his exclamation and looks at him appauled. Brad sees her shocked expression. He’s in no mood to be polite.

BRAD FOLLMER
What?

With a huff, the old lady walks away from him. Brad dials his cell again, as he waves down a taxicab. He gets in the back seat.

INT. TAXICAB

BRAD FOLLMER
Hey Martin, it’s me. Just letting
you know I’m back in D.C. (beat)
Yeah, I’ll keep you updated. Thanks.

He hangs up his phone.

BRAD FOLLMER
(to driver)
Alexandria, please.

The driver nods his head and pulls out. Brad leans back in the seat and lets out an exhausted sigh. Monica’s message has been running through his head since he first heard it. Why is Alex Krycek trying to kill her? Jealousy? The little punk could be that petty. Why John Doggett as well? Does he want Scully and knows he can’t have her with John in the way?

Then why not come after me if he wants to have Monica for himself?

Brad hopes that Monica will be safe at home when he arrives. That way he’d be able to protect her from Krycek, should he try to kill her again. After he gets Monica, they should find John and Dana as well. Four against one. That should put Alex in his place.

Brad looks out the cab window as the sun starts to break through the rain clouds. He hopes that with the arrival of a new day that everything will return to normal. That this “Alex Krycek Incident” is just some silly prank he and Mulder devised in a late night giggling session.

TIME CUT TO:

EXT. 140 SOUTH VAN DORN STREET – ALEXANDRIA, VIRGINIA – 5:45 A.M.

The taxicab pulls up in front of Brad and Monica’s apartment. Brad gets out of the cab and pays the driver. He makes his way to the building.

INT. THE ALEXANDRIA APARTMENTS – CON’T

The doorman opens the door for him and smiles.

DOORMAN
Welcome home, Mr. Follmer.

Brad smiles and nods at the door man as he makes his way to the elevator to go up to the fifth floor.

CUT TO:

INT. FIFTH FLOOR – APARTMENT D

Brad enters the silent apartment. Nothing has been disturbed since he last saw it the previous night. The gray light from outside gives the apartment an eerie glow.

BRAD FOLLMER
Monica?

He shuts the door behind him and walks further into the apartment and heads to his and Monica’s bedroom.

INT. BEDROOM - CON’T

Brad turns on the light, only to find everything how it was left. Including a new pregnancy journal he bought for Monica. He left it on her pillow as a surprise for when they got home from Mulder’s Super Buddy dinner.

He sits down on the bed and opens the journal to re-read what he inscribed on the inside.

“Moni, I thought you would want something to jot down all your thoughts, hopes, feelings, and fears. This way we will always have a record of our first pregnancy. I love you always. Bradley.”

A smile crosses his face as he sets the journal back down on her pillow. His smile fades as worry invades his mind again. He hopes she’s safe. She’s a Reyes, and her brothers taught her well in self-defense.

Where is she?

He stands up and leaves the bedroom.

INT. LIVING ROOM – CON’T

Brad sits down in the middle of the couch and leans forward, his elbows resting on his knees as his hands hold his head. He needs to focus and use the strong connection he has with Monica to figure out what to do next.

His thoughts are interrupted when the phone rings. He hesitantly answers, hoping its not someone who thinks he’s still in New York. The last thing he needs is for Deputy Director Kersh to be aware that he’s abandoned the “assignment” he was “working” in New York. That in itself is suspicious.

He answers the phone.

BRAD FOLLMER
Hello?

There is a silent beat before the women on the other end speaks. Brad’s heart skips a beat with the hopes that it is Monica calling to tell him she’s safe. Before he can say anything, the woman speaks. It is Monica’s mother, Isabella.

ISABELLA REYES
Is Monica in?

Isabella is holding back emotions. Brad hears this and checks his watch. It’s only ten till six in the morning. This can’t be good.

BRAD FOLLMER
No, she’s not.

ISABELLA REYES
I am her mother, Isabella…
Is this Monica’s Bradley?

BRAD FOLLMER
Yes, ma’am. (beat) Is
everything all right?

There is silence on the other end. Brad hears Isabella hold back her emotions again.

ISABELLA REYES
Monica’s Papá... he...
He’s in the hospital.

Brad leans back on the couch.

ISABELLA REYES
He had a heart attack earlier
this morning after Carlos
brought Chino back to the estate.

BRAD FOLLMER
Is he all right?

ISABELLA REYES
He is a strong man. (beat) He has
been asking for his little Monica.
He says he has something very
important to tell her.

BRAD FOLLMER
I’ll let her know. (beat) We’ll
be down as soon as possible.

ISABELLA REYES
Thank you. (beat) I must go now.
I have many more phone calls to make.

BRAD FOLLMER
Okay. Take care.

ISABELLA REYES
I will. Bye-bye.

BRAD FOLLMER
Bye.

Brad hangs up the phone and lets out a heavy sigh. Is the world working against him and Monica? First Alex Krycek tries to kill her, now her father is in the hospital, and Monica has seemingly disappeared without a trace. Monica’s been going through a lot of stress recently. Her headaches and visions keep her awake at night. Everything is just too stressful for her condition.

He lets out a sigh to clear his thoughts so he can figure out where to begin.

CUT TO:

INT. JOHN MONTGOMERY’S CAR

John Montgomery, John Doggett, and Monica Reyes are out of the D.C. area and are heading northwest. The tension in the car is thick. No one has said a word since they left Scully. Doggett is more alert now that his painkillers and sedatives have worn off. He keeps a close eye on Montgomery. Though Scully trust him, Doggett’s not certain about him.

Doggett can’t help but be a little suspicious of Montgomery. He hasn’t said a word to them since they left Scully at the rest area. A man who holdstheir lives in his hands should at least keep them informed, but he hasn’t. Not once has Montgomery told them where he’s taking them, or what exactly is going on. Doggett suspects that Montgomery knows a lot more than what Scully does. He probably knows what Alex Krycek is up to.

Doggett looks over at Monica. Once again, she is holding her head in her hands, suffering from another painful headache. He can’t help but trust Monica’s bad feelings, especially when he has a bad feeling about this himself.

Doggett looks to the front at Montgomery.

JOHN DOGGETT
Excuse me, sir?

Montgomery looks back at him through the rear-view mirror.

JOHN DOGGETT
How did you and Dana meet?

JOHN MONTGOMERY
Harvard Med School. (beat)
I was her professor.

JOHN DOGGETT
You two must have been close
if she trusts you with her life.

JOHN MONTGOMERY
We were married for a few
years and worked closely
together during that time.

Doggett takes time to digest this. He never knew Dana was married before. Why hadn’t she mentioned this to him? He takes a breath before speaking.

JOHN DOGGETT
If you don’t mind me asking,
what happened between you two?

JOHN MONTGOMERY
It’s personal.

Doggett nods his head. He leans back in his seat and looks over at Monica again. His face shows concern for her. He’s never seen her in so much pain before.

JOHN DOGGETT
(soft)
Monica?

Monica doesn’t look at him, nor does she respond.

JOHN DOGGETT
You all right?

Monica shakes her head “no”. Doggett wraps his arm around her and pulls her close to him. She starts to cry. He kisses the top of her head, hoping to help her feel better.

MONICA REYES
(soft; through tears)
I can’t help but feel that my life
will never be the same, John. (beat)
I thought Alex was our friend. Now
he’s trying to kill us.

She wipes away her tears, trying to compose herself.

MONICA REYES
(upset)
Because of him, I may never
see Brad again.

Tears continue to fall.

JOHN DOGGETT
Don’t say that, Monica. We’ll
see them again. (beat) Remember
when you were young and your
Grandmama said you would spend
your life with Brad, and me with Dana-

MONICA REYES
-How do you know for sure?

She pulls away from him and looks him in the eyes. Doggett looks at her questioningly. She’s never doubted her Grandmama before, and this worries him.

MONICA REYES (CON’T)
What if this is the end of our
lives and you were only meant
to be with Dana for a short time?

JOHN DOGGETT
Dana said she’d fix things
so it’s safe for us to come back.

MONICA REYES
(upset)
What makes you think she
can do this on her own?

JOHN DOGGETT
Because I trust that she can.
She knows Alex. She can talk
to him.

Doggett looks into Monica’s eyes.

MONICA REYES
It doesn’t feel right to me.
The world feels off, John.
I don’t know how to explain it.

Suddenly, Monica squeezes her eyes shut and grabs her head in pain. She lets out a small scream of pain as she falls back into Doggett.

Montgomery looks back at her through the rear-view mirror.

JOHN MONTGOMERY
Is she all right?

Doggett holds Monica, not sure what the hell is going on with her.

JOHN DOGGETT
I don’t know...

Monica curls up closer to him. Tears stream down her face. Doggett looks down at her and notices the bloody gauze wrapped around her hand from when Krycek tried to kill her. Doggett looks up in Montgomery’s direction.

JOHN DOGGETT
Do you have a first aid kit?

JOHN MONTGOMERY
Why?

JOHN DOGGETT
She has a bad cut on her hand
that hasn’t been properly treated.

JOHN MONTGOMERY
I’ll take a look at it the
next time I get gas.

Doggett nods his head.

JOHN DOGGETT
Thanks.

Doggett looks down at Monica as she suffers through her headache. What the hell is going on inside her head that is causing her so much pain. These seem to come out of nowhere. He brushes a few strands of hair off her face and wipes away some of her tears, wishing he could find a way to comfort her.

CUT TO:

INT. EAST 46TH STREET – NEW YORK

The Syndicate meeting room is dimly lit. The Cigarette-Smoking Man stands by the window, puffing on his cancer stick. He watches the traffic below as rain drops slowly run down the window. He slowly exhales smoke as he extinguishes his cigarette in an ashtray that rests on a near by table.

CIGARETTE-SMOKING MAN
How did this happen?

The Cigarette-Smoking Man turns to face Alex Krycek, who is standing across the room. His face now has fresh stitches that add to his menacing appeal.

ALEX KRYCEK
She was stronger than I thought.
(beat) She also willed John
Doggett out of his coma.

The Cigarette-Smoking Man looks up, as if he knows what Alex meant by “willed”.

ALEX KRYCEK (CON’T)
Their whereabouts are unknown.

WELL-MANICURED MAN
Is it absolutely necessary to
eliminate Ms. Reyes and Mr. Doggett?

The Well-Manicured Man looks up from his leather chair to the Cigarette-Smoking Man.

CIGARETTE-SMOKING MAN
I never would’ve proceeded if this
situation didn’t call for extreme measures.

He looks down at the Well-Manicured Man as he lights up another cigarette.

CIGARETTE-SMOKING MAN
I received a call from Strughold
before I called this meeting.

The Smoking Man looks at the Well-Manicured Man with seriousness.

CIGARETTE-SMOKING MAN (CON’T)
Colonization is closer than we thought.

He brings the cigarette up to his lips. The room falls silent, allowing a moment of realization to sink in.

WELL-MANICURED MAN
Did he say when?

CIGARETTE-SMOKING MAN
June 2006.

The Well-Manicured Man’s eyes widen.

WELL-MANICURED MAN
That’s only two years away.

The Smoking Man walks away from the window.

CIGARETTE-SMOKING MAN
Precisely. (beat) Scully’s return is
necessary if we want a fighting chance
against the alien colonization of the planet.

The Well-Manicured Man’s eyes lower. Scully only wants to live a normal life outside The Project. Now with colonization only two years away, her return is absolutely necessary now more than ever.

WELL-MANICURED MAN
Why is force and manipulation being
used to bring Ms. Scully back?

He looks disapprovingly at the Smoking Man.

WELL-MANICURED MAN
If we want her cooperation, she
should come on her own free will.

CIGARETTE-SMOKING MAN
No force has been used on her. (beat)
Mr. Doggett and Ms. Reyes are close
to her. I thought using them for
negotiation purposes would make it easier
for Ms. Scully to return.

The Well-Manicured Man doesn’t approve of this.

CIGARETTE-SMOKING MAN
The threat to their lives has already
been shown to her. All we need to do
is find them, bring them in, and
propose an offer she won’t refuse: Their
lives spared if she returns to The Project.

WELL-MANICURED MAN
She’ll never do it.

The Well-Manicured Man’s glare pierces The Smoking Man.

WELL-MANICURED MAN
She knows you will never distribute
the vaccine to the world. (beat) She’s
not one to play your selfish game.

The Smoking Man exhales smoke.

ALEX KRYCEK
Why not approach her with
the honest truth?

The Smoking Man and the Well-Manicured Man look over in Krycek’s direction. He steps forward, into the light.

ALEX KRYCEK (CON’T)
Tell her why The Project needs her
back. Explain to her the necessity
of her knowledge.

The Smoking Man brings his cigarette back up to his mouth. The Well-Manicured Man waits to hear the Smoking Man’s answer to Krycek’s solution.

CIGARETTE-SMOKING MAN
(exhales smoke)
There are complications, Alex.

Krycek listens.

CIGARETTE-SMOKING MAN (CON’T)
John Doggett has become close to Ms. Scully.
He wouldn’t understand her reasons for
leaving. Too many questions would be
left unanswered.

The Smoking Man puffs on his cigarette.

CIGARETTE-SMOKING MAN (CON’T)
A man as determined as Mr. Doggett
would want to find answers to fully
understand this situation. (beat)
That’s a problem.

The Smoking Man takes a seat in a leather chair apposite of the Well-Manicured Man. Krycek thinks for a moment.

ALEX KRYCEK
Then we convince Doggett and Reyes
that Scully is dead. That takes
care of the problem. (beat) They
would never come looking for her.

WELL-MANICURED MAN
(suggesting)
We have been working on the ability
to change memory for years.

He looks to the Smoking Man.

WELL-MANICURED MAN (CON’T)
We make them believe Ms. Scully
died in that car wreck Mr. Doggett was in.

ALEX KRYCEK
Monica’s been through a
pretty bad beating as well.

CIGARETTE-SMOKING MAN
We put her in the car wreck too.
She and Mr. Doggett are the
only survivors.

The Well-Manicured Man nods his head.

WELL-MANICURED MAN
Where is Ms. Scully now?

ALEX KRYCEK
I believe she may have contacted
Montgomery for help. (beat) I believe
she would hand them over to him so
they can be protected.

The Cigarette-Smoking Man nods his head, giving them permission to proceed.

CUT TO:

INT. SCULLY & MARITA’S APARTMENT

There is a loud knocking on the apartment door. Dana Scully comes out of her bedroom wearing a T-shirt and jeans. Her hair is damp from a shower she just took. She makes her way to the door and looks out the peephole. She opens the door and there stands Brad Follmer.

DANA SCULLY
(confused)
Brad? Why are you here?

BRAD FOLLMER
Is Monica here?

Scully look sat him hesitantly, not sure what he knows. She senses his worry, but doesn’t know if Monica has contacted him.

DANA SCULLY
Come in.

She moves aside to let him in. He walks in and she shuts the door.

DANA SCULLY
She’s not here.

Brad turns to face her, he’s on the verge of feeling hopeless to this situation. He sits on the couch and lets out an exhausted sigh.

BRAD FOLLMER
I got a message from her when I was
in New York. She said Krycek tried
to kill her and that John was in
a coma. (beat) When she wasn’t at
home, I thought maybe she’d come to you...

DANA SCULLY
She did come to me, Brad.

Brad looks up at her with hope in his eyes.

BRAD FOLLMER
(strengthened with hope)
Where is she?

DANA SCULLY
I don’t know.

Brad looks at her questioningly.

BRAD FOLLMER
(slightly angered)
You don’t know?

DANA SCULLY
(explaining)
I contacted someone who could
bring them to a safe place.

BRAD FOLLMER
And yet you don’t know
where they are?

Scully looks at him, knowing this isn’t good news for him.

BRAD FOLLMER
(angry)
You send them off with someone
and you don’t even know where
they are? What kind of protection
is that? How do you know you haven’t
put their lives in danger?

DANA SCULLY
The less you know, the better. Trust me.

This angers him. He stands up.

BRAD FOLLMER
You put Monica’s life in someone
else’s hands and tell me ‘the
less I know, the better’?!

He glares at her. She’s not sure what to say to him. She hasn’t even figured this situation out, how could she possible let him know what’s going on. All she knows is that Alex Krycek is trying to kill John and Monica, and her instincts tell her that the Smoking Man is behind it.

BRAD FOLLMER
(after a beat)
Who is she with?

DANA SCULLY
I can’t tell you.

BRAD FOLLMER
(angry)
Bullshit.

This isn’t what he needs.

BRAD FOLLMER
(accusing)
Why didn’t you go to the authorities?

He looks at Scully and waits for a moment. She doesn’t know how to answer him.

BRAD FOLLMER
Or is it true? (beat) There is
a conspiracy going on?

He looks to her for an answer he won’t receive.

BRAD FOLLMER
What about Alex Krycek?

DANA SCULLY
I’m going to talk to him-

BRAD FOLLMER
(disbelief)
-He hasn’t been reported?
(beat) Why?

DANA SCULLY
There’s a lot you don’t know, Brad.

BRAD FOLLMER
Then why don’t you clue me in.

He looks to Scully sternly. He’s sick of this bullshit and wants some answers.

DANA SCULLY
I can’t-

BRAD FOLLMER
(frustrated)
-Jesus Christ, Dana!

Brad glares at her for a moment and then looks away, controlling his anger and frustration so he can keep a rational mind.

BRAD FOLLMER
(after a beat)
If you won’t tell me, I’ll
ask Krycek myself. Maybe he’ll
have answers for me.

Brad heads to the door.

DANA SCULLY
That would be an insanely
bad idea, Brad.

Brad turns to her pissed.

BRAD FOLLMER
Then you answer me!

He glares her down, not wanting to deal with anymore of her bullshit. He senses she knows what’s going on and is sick of getting the ring-around with her.

DANA SCULLY
(after a beat)
I don’t have answers, Brad.

She looks at him sternly, meaning every word that comes out of her mouth.

DANA SCULLY (CON’T)
I’m just as worried as you are.
(beat) When I get answers, I’ll
let you know. (beat) Until then,
it’s wise to lay low and let me
handle this situation.

Brad glares at her. He’s not happy with what she’s telling him, but there’s nothing more he can do. He turns and leaves, slamming the door behind him.

Scully looks down, wishing she had answers for him. She lets out a heavy sigh. What the hell is Alex Krycek up to? Whatever it is, she’s going to find out.

FADE OUT:

END ACT ONE

ACT TWO

FADE IN:

INT. MULDER & KRYCEK’S APARTMENT – BATHROOM

Alex Krycek closely examines his face in the mirror. He glares at the nasty scar he now has on his beautiful face. His face scrunches up with anger as he looks at the reminder Monica left him. He should’ve known he didn’t have a chance at beating her. She’s a Reyes for cryin’ out loud.

ALEX KRYCEK
(angry)
That bitch...

He’s so vain.

A knock on the apartment door catches his attention. He leaves the bathroom and goes to answer the door.

INT. FOYER

ALEX KRYCEK
Who is it?

DANA SCULLY (O.S.)
(strong with a hint of anger)
It’s me. Dana.

Krycek opens the door.

DANA SCULLY
(mad)
What the hell are you doing?

ALEX KRYCEK
Let’s talk about this inside.

He moves aside to allow her in. She enters and he slams the door shut. Scully turns to face him.

DANA SCULLY
What the hell are you doing
trying to kill John and Monica?!

ALEX KRYCEK
(calm/intense)
Where are they?

Scully glares at him and looks him over.

DANA SCULLY
Why should I tell you?

ALEX KRYCEK
(mad)
I asked you a question, I
expect an answer.

DANA SCULLY
(angry)
Tell me what’s going on
you son-of-a-bitch, or
you’ll have another nasty
scar on you beautiful face.

She glares at him, and he glares right back. The tension in the room is thick. Krycek doesn’t back down.

ALEX KRYCEK
(calm)
Answer my question.

DANA SCULLY
(determined)
No.

He glares into her eyes as he slowly and threateningly pulls out his knife. She watches him carefully.

ALEX KRYCEK
You see this, Dana?

He takes a step closer to her and walks behind her. She doesn’t move but her eyes follow him. Krycek forcefully grabs her by her waist and puts the cold steel to her throat. Scully flinches, not expecting him to pull this shit on her.

DANA SCULLY
I’m not intimidated by you, Alex.
(beat) You’re a coward and don’t
have it in you to kill me.

She keeps him in her peripheral vision.

ALEX KRYCEK
(mean/threatening)
Tell me what I want I need
to know and I won’t hurt you.

DANA SCULLY
(pissed)
Never.

Krycek applies more pressure to her.

ALEX KRYCEK
(threatening)
Tell me what I need to know
and I’ll spare the life of
John Doggett.

Scully squeezes her eyes shut. Why won’t he give her any answers?

Suddenly, the phone rings loudly, startling Scully and Krycek. She grabs at Krycek’s arm that holds the knife to her throat. He tightens his grip around her waist. The phone rings again and the answering machine picks up.

FOX MULDER
(on machine)
Hi Alex, it’s Mulder. I’m on a plane!
Did you find my note on the coffee table?

Krycek looks at the coffee table and sees a piece of paper folded up with Krycek’s name on it.

FOX MULDER (CON’T)
Hopefully you did. I just thought
I’d call and check in on you.

Krycek rolls his eye. Scully feels him loosen his grip on her. A rush of adrenaline shoots through her body and she takes the opportunity to turn the table on him.

With all her strength, Scully grabs his arm and pulls the knife away from her throat. She throws it to the ground. She stomps on his foot with all her might. Krycek yelps in pain and looses his grip on her waist.

FOX MULDER (CON’T)
Anyway, I don’t want to take up a
lot of money on the credit card,
but could you do me a favor?

Scully smacks Krycek across the fresh scar on his face and trips him to the ground.

Krycek sees his knife and reaches for it, as does Scully. Scully has the advantage and stomps on his arm. Krycek lets out a second pained scream as Scully grabs the knife.

If only Mulder knew what was going on... It’s so un-Super Buddy of them!

FOX MULDER (CON’T)
Take Brad out to the toy store and
get him a toy to welcome him to
Super Buddies.

Scully straddles herself on Krycek’s legs. She threateningly places the knife by his pant zipper... Threatening what he values most in life... second to Marita. Krycek’s eyes widen in fear. She might hurt his precious Love Gun!

FOX MULDER (CON’T)
Thanks buddy! I’ll see you
soon! Love you! Bye!

The machine stops recording and Scully gives Krycek a threatening look.

DANA SCULLY
(threatening)
What are you up to you
son-of-a-bitch?!

Krycek glares, not going to give in to her threats. She applies more pressure to his Love Gun. His eyes widen.

ALEX KRYCEK
(giving in)
Ok! Ok! I’ll tell you!

He waits a beat, hoping she’ll back off. She doesn’t.

ALEX KRYCEK
We need you back in The Project-

DANA SCULLY
-Why?

ALEX KRYCEK
Alien colonization has been
stepped up. You’re the only
one who can help us.

DANA SCULLY
(not buying it)
What the hell does that have
to do with you trying to kill
John and Monica?

Krycek glares at her. She gives him another mean look as she applies more pressure on him.

ALEX KRYCEK
I’ll give you your
answers if you back off.

Scully looks into his eyes and after a moment, she slowly backs away from him. She keeps the knife in her hand, leaving Krycek on the floor.

DANA SCULLY
(calm)
Go on.

ALEX KRYCEK
As I said before, we need you
back in The Project. Colonization
has been stepped up. You’re the only
one who can create a successful vaccine.

She listens.

ALEX KRYCEK (CON’T)
The initial plan was to kill John
and Monica to weaken you so you
could easily be manipulated to
return to The Project.-

DANA SCULLY
(mad)
-Manipulated?!

ALEX KRYCEK
-We received a call from Strughold
about the colonization. (beat) One
man alone can not create the vaccine.
(beat) You know this.

He stares at her with intensity. She glares at him.

ALEX KRYCEK
I don’t want to kill anyone. The
group doesn’t want to kill anyone.
(beat) We need you back and we need
to wash out Doggett and Monica’s
memories of what has happened.

DANA SCULLY
Why?

ALEX KRYCEK
So it’s easier for you to return
without complications. (beat) Doggett
would never want to let you go. He’d
try to stop this and eventually that
would lead to the end of the world.
(beat) They’ll win if you don’t return.

Scully looks him over. She’s not buying this. Alien colonization isn’t until 2012. What kind of B.S. lie is he telling her?

DANA SCULLY
You’re a liar, Alex.

She throws the knife across the room and gives him one last glare as she exits the apartment. Krycek sits on the floor. He lets out an irritated sigh. His eyes make their way over to the note Mulder left on the table. He picks it up and reads it.

“Got a call. Had to go. Went to Belgium. Mulder.”

Krycek rolls his eyes, not caring about the newest Mulder Adventure.

CUT TO:

INT. AIRPLANE

Fox Mulder sits in his aisle seat. He sits next to a man in a business suit. The man is typing on his laptop computer. He looks very irritated. Mulder struggles with opening a little bag of peanuts. He finally rips it apart and a few peanuts fly onto the Businessman’s laptop keyboard. The Businessman glares at Mulder. Mulder pops a few peanuts into his mouth.

FOX MULDER
(to businessman)
...And you know, I was so excited
to hear from her. You know, she’s
been working in Europe for years.
(beat) You can’t imagine how happy
I am to hear she’s waiting for me in Belgium.

The Businessman rolls his eyes and glares at Mulder. How is he supposed to concentrate on his work with this blibbering idiot sitting next to him.

FOX MULDER
Have you ever been in love? I
have. I still am. I sometimes
act a little ‘queenie’ so the
women will stay away from me
and I can remain faithful to
Diana. Even though she’s been
away for a long time, we’re still
married. (beat) Are you married?

BUSINESSMAN
(irritated)
Yes.

FOX MULDER
Isn’t it just great?

Mulder smiles as he picks up his little plastic cup of water. Some water falls down the front of him.

FOX MULDER
Oh, whoops! I dribbled on myself.

Mulder giggles and gives the Businessman a grin.

FOX MULDER
(after a beat)
Say, I was wondering...

The Businessman stops typing and lets out an angry sigh.

FOX MULDER (CON’T)
...Would you like to be in Super Buddies?

BUSINESSMAN
(irritated)
No.

FOX MULDER
(as if he didn’t hear him)
Super Buddies is this little
organization I created with
my buddy, Alex Krycek-

BUSINESSMAN
(mad)
-Alex Krycek?

He snaps a look over at Mulder.

FOX MULDER
Yeah. You know him?

BUSINESSMAN
(mad)
Yeah. I know that little prick.

FOX MULDER
No, no. Alex isn’t a “prick”.
He’s the Vice-President of
Super Buddies.

BUSINESSMAN
(mad)
I used to work with that little
shit at Burger Boy back in the day.

FOX MULDER
(confused)
Burger Boy?

BUSINESSMAN
(pissed)
He killed my pet rat and
then got a better job from it.

FOX MULDER
Well, I’m sure Alex is sorry-

BUSINESSMAN
(doubtful/furious)
Oh yeah! When he got
the white paper hat?!

The Businessman is getting very worked up. Mulder is becoming scared of him.

FOX MULDER
(scared)
What color hat did you wear?-

BUSINESSMAN
-Orange!

Mulder’s eyes go wide with fear. He’s never seen someone become so upset over something so petty. Mulder quietly eats his peanuts as the Businessman continues to get more and more worked up over Alex Krycek.

CUT TO:

EXT. FOREST CLEARING – NIGHT

Snow gently falls down to the frozen ground. The moon above casts cold light down onto the sparkling snow. Tall trees surround the forest clearing, with their branches weighted down by snow.

An isolated cabin rests in the middle of the clearing. A warm light glows inside. We slowly and uneasily make our way towards the cabin. The closer we get, the faster we become, making our way to the cabin window. Before we get there, however, the cabin explodes!

FLASH CUT TO:

INT. CAR – NIGHT

The interior of the car is blurry. A chilling breeze passes through the open car window. Our vision becomes clearer as we focus on Robert Alfredo in the driver’s seat. He’s seen from the backseat of the car.

The point-of-view quickly flashes over to see John Doggett asleep in the back seat.

Cigarette smoke slowly filters into the car, as our POV quickly changes to see the Cigarette-Smoking Man walking towards the car.

Behind the Cigarette-Smoking Man is a building with bright floodlights and text on the side that says “Strughold”.

Alfredo speaks to the Smoking Man, his words are muffled and unclear.

CIGARETTE-SMOKING MAN
We have her here.
She’s ready for them.

The Cigarette-Smoking Man looks into the back seat, and into the eyes of Monica Reyes.

SMASH CUT TO:

INT. JOHN MONTGOMERY’S CAR – DAY

Monica’s eyes pop open with a start as she gasps for more air. She sits up, catching her breath. She takes a moment to realize her surroundings. The car is no longer moving. She shuts her eyes in pain as another one of her painful headaches disappears.

The vision is familiar to her. She can’t place it, but knows she’s seen it before. She shuts her eyes again and takes a deep breath.

JOHN DOGGETT
(concerned)
Monica?

Monica looks over at him.

JOHN DOGGETT
You okay?

Monica shakes her head “no”.

MONICA REYES
I just had a bad dream.
I’m fine. (beat) Where are we?

JOHN DOGGETT
At a gas station. (beat) I’ve
asked Mr. Montgomery to take
a look at your hand.

Monica looks down, having forgotten about her wounded hand.

MONICA REYES
It’s nothing. I’ll be fine.

JOHN DOGGETT
It’ll get infected.
(beat) Does it hurt?

MONICA REYES
I try not to think about it.

The door to the back seat opens on Monica’s side. A chilly northern breeze comes in.

JOHN MONTGOMERY
(to Monica)
You’re awake.

Monica looks up at him.

JOHN MONTGOMERY
May I see your hand?

Monica nods her head and holds out her left hand for him. Montgomery unravels the gauze.

JOHN MONTGOMERY
It’s a deep cut.

He looks up at her.

JOHN MONTGOMERY (CON’T)
You’re going to need stitches
and a good cleaning. The last
thing you want is for a wound
like this to get infected. (beat)
I’ll get my kit and take care of it.

Monica nods as Montgomery goes to the trunk to find his first aid kit.

MONICA REYES
(to Doggett)
This is going to hurt.

JOHN DOGGETT
It’ll hurt more if you don’t.

Montgomery comes back.

JOHN MONTGOMERY
Come with me.

Monica looks over at Doggett as she gets out of the car. Doggett follows them. Montgomery leads them into the bathroom on the side of the gas station.

INT. BATHROOM – CON’T

The bathroom is unclean, but it’s the only place with water. There is a wooden bench on one of the walls. The bench is covered with graffiti.

JOHN MONTGOMERY
Sit down over there.

Montgomery signals to the bench, and Monica and John sit down on the old wooden bench.

Montgomery comes over and kneels in front of Monica. She watches him as he takes hold of her hand and stretches the skin, opening her cut. Monica winces in pain.

Montgomery proceeds to clean her wound. Being the ruthless scientist/medical doctor for the Syndicate, he’s not use to treating people with a lot of care. He’s the kind to do what needs to be done.

Monica’s eyes well up with tears as Montgomery ruthlessly continues. Doggett watches Montgomery carefully, and takes hold of Monica’s other hand.

Montgomery pulls out a surgical needle and thread. Without giving Monica a warning, he starts to stitch her wound together, bringing the edges together tightly.

MONICA REYES
(in pain)
Ow.

She shuts her eyes, attempting to block the intense pain.

Moments later, Montgomery finishes with her wound.

JOHN MONTGOMERY
That’ll take care of your wound.
Don’t stress your hand. (beat)
You don’t want the stitches to tear.

Monica nods her head. No shit she doesn’t want that, Montgomery doesn’t even have painkillers. She wipes a tear away from her eye.

JOHN MONTGOMERY
We won’t be stopped long, and we
won’t be stopping again until we
need more gas. (beat) Do what you
need to do while we’re here.

He pulls his billfold out and gives Doggett some cash.

JOHN MONTGOMERY
Buy some food, water, whatever you
need. (beat) I don’t want to be
stopped for too long.

Doggett nods his head as Montgomery leaves the bathroom.

EXT. GAS STATION – CON’T

Montgomery walks over to his car. His cell phone rings as he continues on his way. He answers.

JOHN MONTGOMERY
Montgomery.

Behind him, John and Monica leave the bathroom and go inside the gas station.

CIGARETTE-SMOKING MAN (FILTERED)
Mr. Montgomery, I received a call
this morning. (beat) A call I
believe you’ll want to know about.

Montgomery stops in his tracks upon hearing the Smoking Man’s voice. He knew helping with this situation was risky. He waits a beat before replying, hoping the Smoking Man doesn’t know he’s helping Dana.

JOHN MONTGOMERY
I’m listening.

CIGARETTE-SMOKING MAN
The alien colonization timetable has
been reduced by six years. (beat)
We’re now looking at a June 2006 date.

Montgomery allows this to register.

JOHN MONTGOMERY
We know this for sure?

CIGARETTE-SMOKING MAN
Strughold called me this morning.
(beat) I also know you’ve been
helping Ms. Scully, and that you
have her friends; Mr. Doggett
and Ms. Reyes.

Blood drains from Montgomery’s face. The Smoking Man waits a moment, allowing what he’s just told him to sink in.

CIGARETTE-SMOKING MAN
They’ve seen too much.

Montgomery listens.

CIGARETTE-SMOKING MAN
We’ll need them at our facility
in New York to erase their memories
of everything that has happened. (beat)
We’ll be giving them new memories
of Ms. Scully.

JOHN MONTGOMERY
(what the fuck?)
Dana? What do you want with her?

CIGARETTE-SMOKING MAN
You already know the answer
to your own question.

Montgomery exhales heavily.

JOHN MONTGOMERY
(not happy)
I’m a long ways away from New York.

CIGARETTE-SMOKING MAN
That’s not a problem. (beat) You
may proceed to your destination.
We don’t need Mr. Doggett causing
any difficulties. (beat) I’ve
already contacted my man inside
the FBI. He’s awaiting his orders.

Montgomery looks down. This situation just got worse.

JOHN MONTGOMERY
I’ll let you know when I’m there.

He can almost feel the Smoking Man’s smug grin through the phone, as he hangs up and gets in his car, waiting for John and Monica.

INT. GAS STATION

The gas station is empty as Monica and John make their way down the aisles.

JOHN DOGGETT
What do you want?

Monica shrugs her shoulders. Right now she doesn’t care, all she wants is to be safe at home with Brad.

Doggett watches her. She hasn’t said much at all, and given the situation, that’s not a good thing.

JOHN DOGGETT
(trying to get her to talk)
They’ve got apple pie... doughnuts,
fruit, mystery meat burrito...?

He looks at her for a response, however her mind is somewhere else. She looks up at him.

MONICA REYES
Brad and I are engaged.

This takes Doggett back. He had no idea. He smiles at her.

JOHN DOGGETT
Congratulations.

Monica smiles.

JOHN DOGGETT
When did he ask you?

MONICA REYES
In Paris, on top of the Eiffel Tower.

Doggett is put into shock. They’ve been engaged for almost a year and he didn’t even notice! Why didn’t they tell anyone?

Monica looks into his eyes, knowing his thoughts. Before he can even ask his question, she answers him.

MONICA REYES
We were only together for a few
months when he asked me. We didn’t
want everyone telling us we were
rushing things. (beat) Also, we
wanted to let family know first.
We were going to go down to
Mexico next week, but...

A sad expression washes over her. Her eyes start to well up with tears.

JOHN DOGGETT
(assuring)
You will.

He smiles at her, and she looks up at him again.

MONICA REYES
There’s more... I’m almost
five weeks pregnant.

Doggett’s eyes widen as she lets out her final sha-bang. He definitely wasn’t expecting that.

MONICA REYES
So you see, there’s more than
just my life at stake here.
If this doesn’t get cleared up...

She starts to cry again as she thinks of the worst.

JOHN DOGGETT
(soft)
Hey...

He hugs her.

JOHN DOGGETT
I promise you, everything
will work out, okay?

Monica wishes she could believe him, but she’s still tormented by her bad feelings and haunting visions. She holds onto Doggett as if he’s all she has left right now.

JOHN DOGGETT
(soft)
I promise.

CUT TO:

INT. WALTER SKINNER’S OFFICE – J. EDGAR HOOVER BUILDING – 11:04 A.M.

Skinner is pacing his office, holding a Rubric’s Cube in his hands. He’s very focused on it. There is a knock on his office door.

WALTER SKINNER
Come in.

Scully comes into his office.

DANA SCULLY
Walter?

WALTER SKINNER
Hey.

He smiles at her.

WALTER SKINNER
Have you ever figured
these things out?

He hands the Cube to her. She takes it.

DANA SCULLY
No.

She sets the Cube on his desk. She’s obviously here for a reason.

DANA SCULLY
We need to talk. (beat) About us.

She looks at him sternly, letting him know that’s not why she’s really there.

DANA SCULLY
I think we should re-new our relationship.

Skinner looks into her intense eyes.

WALTER SKINNER
It’s about time for my lunch
break. How about we discuss
this over lunch?

DANA SCULLY
I’d love to.

Skinner escorts Scully out of his office.

INT. HALLWAY – CON’T

Skinner and Scully make their way to the elevator.

WALTER SKINNER
(quite)
What’s going on?

DANA SCULLY
Not here, you never
know who’s listening.

Scully eyes everyone suspiciously, not knowing if anyone is on the inside. You can never bee too careful.

CUT TO:

EXT. PARK – 11:20 A.M.

Skinner and Scully make their way to an isolated clearing in the park. They stand in the middle of a grassy field.

DANA SCULLY
I don’t know if you’ve heard,
but John was in a car wreck
last night.

Skinner’s eyes go wide. Why hasn’t anyone informed him of this incident?

WALTER SKINNER
Is he all right?

DANA SCULLY
He was in a coma, but Monica
somehow brought him out of it.

WALTER SKINNER
So why is this so secretive?

DANA SCULLY
Alex caused the wreck and then
tried to kill Monica. When I went
to him for answers, he said it was
all in the name of The Project. (beat)
Do you know anything about this? What
they want? Or why they are going after
John and Monica?

Skinner shakes his head “no”.

WALTER SKINNER
This is all news to me. (beat) I
don’t see how Doggett or Reyes are
involved with Syndicate affairs.

Scully lets out a sigh.

DANA SCULLY
Alex said they need me
back in The Project.

WALTER SKINNER
I don’t know anything about
that. (beat) They haven’t
contacted me forever.

Scully looks down, not knowing what to do. Skinner was her last chance to find anything. She should’ve known they’ve been keeping him out of the loop. She sighs, as a thought enters her head.

DANA SCULLY
Maybe they haven’t contacted
you because they have a new
man on the inside.

Scully looks up into Skinner’s eyes. Skinner ponders this. It’s not impossible.

WALTER SKINNER
I can dig around and see if
anything suspicious has been
going on. I don’t know how much
I’ll be able to access. Probably
just the agents under me.

DANA SCULLY
It’s not impossible, right? For
them to have someone new? (beat)
Someone we wouldn’t even suspect.

Off of Scully and Skinner’s thoughtful looks...

CUT TO:

INT. BRUSSELS AIRPORT – BELGIUM

There is a large crowd of people waiting by the International Terminal exit doors. Amongst the crowd, is a beautiful brunette, Diana Fowley, holding a gift bag in her hand. She impatiently checks her watch as the doors open and people leave the Terminal. She looks up with hopeful eyes. She’s been waiting for along time, and hopes Mulder hasn’t gotten lost.

In the distance, she sees Mulder making his way to the exit. A bright smile crosses her faces as she waits patiently for him.

Mulder exits through the doors and searches the crowd for Diana. He spots her almost immediately and a huge smile forms on his face. He waves to her and makes his way over to her. She smiles as he stands before her. He’s almost in a state of shock.

DIANA FOWLEY
Fox.

FOX MULDER
Diana.

He sets his suitcase down and wraps his arms around her, holding her close to him, feeling her heart-warming love returned to him. Mulder pulls away slightly and kisses her with a tender, yet very passionate kiss on the lips.

They part and Mulder wipes a tear from her cheek and gives her a kiss on the forehead.

FOX MULDER
I’ve missed you.

DIANA FOWLEY
I’ve missed you too, Fox.

She looks into his eyes and smiles.

DIANA FOWLEY
I’ve got something for you.

She hands him the gift bag. He takes it and pulls out a dark blue sweater.

FOX MULDER
My favorite color besides red and green.

He smiles at her.

DIANA FOWLEY
You’re red/green colorblind.

FOX MULDER
I know.

He smiles at her.

DIANA FOWLEY
Let’s go.

FOX MULDER
Back home? Back to D.C.?
We can go buy our tickets now.

His eyes are filled with eager excitement.

DIANA FOWLEY
I thought maybe-

FOX MULDER
-Let’s go!

Mulder takes her hand and starts to lead her to buy a ticket back to D.C.

DIANA FOWLEY
Fox.

She stops him.

DIANA FOWLEY
I thought maybe you could see
where I’ve been living
before we go back to D.C.

She smiles at him.

FOX MULDER
I’m sorry. I just get so excited.
(beat) I’d love to see where
you’ve been living.

Diana smiles.

FOX MULDER
But first, I need to
use the little boys room.

DIANA FOWLEY
Okay. It’s right behind you.

Mulder nods and runs off to do his business. Once he’s out of sight, Diana pulls out her cell phone.

DIANA FOWLEY
(into phone)
This is Diana Fowley calling for
him. (long beat) He just arrived.
I’ll be waiting for your call. He’s
very eager to get back, so hurry
up and do what you need to do.

Dun-dun-dun!

FADE OUT:

END ACT TWO

ACT THREE

FADE IN:

EXT. FOREST CLEARING – 3:28 P.M.

Gloomy clouds linger in the sky as soft snowflakes fall to the white ground. In the middle of the clearing is a small wooden cabin.

John Montgomery’s car pulls up and stops in front of the cabin. He gets out of the car, followed by Doggett and Monica. Doggett follows Montgomery up to the cabin, and he turns to find Monica still standing by the car. The cabin hauntingly reminds her of the dream she had earlier in the day.

JOHN DOGGETT
Monica, come on. You don’t
want to catch cold.

He waves at her to come and get out of the cold. Monica looks at him with uncertainty, and slowly makes her way to the cabin. Doggett sees her worried expression.

JOHN DOGGETT
What is it?

MONICA REYES
(lying through her teeth)
It’s nothing.

Doggett doesn’t believe her.

JOHN DOGGETT
“Nothing’s” got you worried?

Monica walks past John and enters the cabin. Doggett follows after her.

INT. CABIN – CON’T

The cabin is small, with one large living area with a couch and fireplace. The living area leads into the open kitchen. There is one small bathroom and bedroom to the left of the cabin entrance. A large rug lies on the wooden floor.

JOHN MONTGOMERY
You’ll be safe here.

He turns to address them.

JOHN MONTGOMERY (CON’T)
When everything gets taken care
of in D.C., you’ll be brought back.

Doggett nods his head.

JOHN MONTGOMERY
I have to be back in D.C.
now. (beat) There is plenty
of canned food and water.

JOHN DOGGETT
Thanks.

JOHN MONTGOMERY
You will both want your rest.
(beat) Monica, you’ll need to
change the bandages on your
hand. There’s a first aid kit
in the bathroom, under the sink.

MONICA REYES
Okay, thanks.

JOHN MONTGOMERY
John, if you’re arm starts hurting,
I don’t have any painkillers here.
(beat) I suggest you ice it to keep
any swelling down.

JOHN DOGGETT
I know. I was in the Marines,
so I think I’m pretty good
with in-the-field-injuries.

Montgomery nods his head and goes to the door.

JOHN MONTGOMERY
(assuring)
It won’t be long now.

He leaves the cabin, and after a moment, Monica turns to John.

MONICA REYES
I feel defenseless here. I
don’t trust this situation.

JOHN DOGGETT
Don’t worry, Monica. Everything
will be all right. Don’t give
yourself extra stress, okay?

Monica nods her head and sits down on the couch. She watches John as he goes into the bathroom to get the first aid kit. She wonders if he’d believe her if she told him her visions. She doubts it, he’s John Doggett: Mr. “I Don’t Believe In Any ‘Mumbo-Jumbo’”.

CUT TO:

INT. ROBERT ALFREDO’S OFFICE – J. EDGAR HOOVER BUILDING – 5:38 P.M.

Robert Alfredo is sitting at his desk, filling his briefcase up with papers and file folders. He was planning to work late tonight, but some things came up that he’s obligated too, and he has to go. He turns off his computer, just as:

WALTER SKINNER (O.S.)
(loud whisper)
Hey, buddy.

Alfredo looks up at his office door to see Skinner poking his head in. A curious expression crosses his face. What’s the Assistant Director still doing here?

ROBERT ALFREDO
What’s up, man?

Skinner enters his office, and shuts the door behind him. Alfredo gets up from his desk and turns off his desk lamp.

WALTER SKINNER
I need your help. I know you’re an
undercover agent, so you’re probably
good at gathering information, right?

Alfredo nods his head.

ROBERT ALFREDO
Yeah. What do you need?

Skinner takes a moment to look around the office to make sure they are alone.

WALTER SKINNER
(whisper)
We need to search Kersh’s office.

ROBERT ALFREDO
(not sure about this)
Why?

WALTER SKINNER
Because, I think he’s involved with
some high up conspiracy that put
Doggett in the hospital. I’ll be vague
about this so you don’t get into trouble.
(beat) This group of powerful people in
the government are trying to get Agent
Scully back to work for them. For some
reason, they need Doggett and Reyes dead.

Alfredo listens.

WALTER SKINNER (CON’T)
I also have reason to believe that this
group has a man on the inside. I believe
that man is Alvin Kersh. (beat) If we sneak
into his office, maybe we can find out if
he’s the inside man, and whether or not anyone
else is on the inside.

Alfredo registers this. He nods his head.

ROBERT ALFREDO
Yeah, I’ll help you out.

Alfredo sets his briefcase on his desk and heads to the door with Skinner.

INT. HALLWAY – CON’T

Alfredo shuts his office door and locks it behind him. Skinner and Alfredo head down the hallway towards the elevator.

ROBERT ALFREDO
What makes you think it’s Kersh?

WALTER SKINNER
Just a hunch.

ROBERT ALFREDO
If these people are high up, wouldn’t
they go to the Director instead?

Skinner looks at him. Hey, good idea.

WALTER SKINNER
What are you saying? Sneak
into the Director’s office?

ROBERT ALFREDO
Yeah.

They get in the elevator and the doors close.

CUT TO:

INT. OFFICE OF THE DIRECTOR

Skinner and Alfredo enter the outer office. Skinner looks around paranoid. It’s a little early in the evening to be snooping around the Director’s office, but Alfredo has a point. If these people are high up, they probably wouldn’t go to the Deputy Director. They’d want to get the head of the Bureau.

WALTER SKINNER
Are you sure no one’s up here
this time of day?

ROBERT ALFREDO
Yeah.

Alfredo looks back at Skinner, who keeps looking out the windows and into the hallway. Alfredo knocks on the door. Skinner shoots him a look. What are you doing?

WALTER SKINNER
(confused)
Why are you-

Skinner is interrupted when the office door opens and the Director stands in front of them.

DIRECTOR
Come in.

She moves aside, allowing Alfredo and Skinner to enter her office. A grin cracks on her face as Skinner passes by her.

Skinner is unsure about this. Why would Alfredo bring him up here? Why would he knock on the door? Unless... unless he knew she was up here. Could that mean that he’s involved in this? Skinner looks at him. There’s no way. He has no connection to the X-Files or the Conspiracy.

Except... Alex Krycek. Skinner has noticed that lately those two have gotten chummy.

Skinner turns to Alfredo. He’s not happy to see that Alfredo has been sucked into their chess game.

WALTER SKINNER
(to Alfredo)
So you’re their new man.

Alfredo doesn’t answer him. He doesn’t have to. Skinner knows. Skinner looks to the Director. It’s no shock that she’s involved. More power for her. Like she needs it. Skinner lets out a heavy sigh. He’s just been had by The Group.

DIRECTOR
Have a seat, Assistant Director.

The Director sits down at her desk and motions to the seat in front of her. Skinner reluctantly sits down.

DIRECTOR
I’m only going to warn you once, Mr. Skinner.

She looks him in the eyes with all seriousness.

DIRECTOR (CON’T)
Don’t investigate any further.

There is a long silence. Skinner glares at her.

WALTER SKINNER
Do you even know what you’ve
gotten yourself into?

The Director smiles at him.

DIRECTOR
Of course I do. (beat) Now, do
you plan on informing Agent Scully
what you’ve just discovered?

Of course Skinner wants to warn her, but he knows he can’t. He glares at the Director. He knows the consequences if he informs Scully.

DIRECTOR
Here’s what you’re going to do,
Mr. Skinner. You’re going to leave
here and tell Agent Scully that you
found nothing. (beat) And if you do not,
how does spending the rest of your life
in prison on child rape and murder charges sound?

Skinner glares at her.

WALTER SKINNER
You can’t do that.-

DIRECTOR
(amused)
-Oh but I can, Mr. Skinner.

A smug grin crosses her face as Skinner realizes he’s in deep. There’s nothing he can do. He can’t spend the rest of his life in prison. He’ll have to lie to Scully. He glares at the Director.

DIRECTOR
(to Alfredo)
Agent Alfredo, you’re being asked
to carry out the plans and start
making your way up north.

ROBERT ALFREDO
Yes, ma’am.

Alfredo leaves her office. The Director smiles “sweetly” at Skinner. She truly loves her position in the game.

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