"Fox & Rat" Virtual Series - Season Two

2x18 "Flight 194"Title: "Flight 194"
Written by:
Cassie & Kristi
Date: 2000
Air Date: N/A
Rating: PG-13 (sensitive material)
Series: FRVS - Episode #032
Spoilers: None, we try to create our own stuff... but remember sometimes we have to refer to happenings in the actual show "The X-Files".
Feedback: E-mail us at foxandratvs@gmail.com (please include the episode name in the subject) Thank you.
Archiving: "Fox & Rat" Virtual Series only!
Disclaimer: "The X-Files" and its characters belong to 20th Century FOX Broadcasting. If you recognize it, it's not our own creation. Original characters belong to Cassie and Kristi (FRVS).
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: When an airplane crashes under mysterious circumstanses, Mulder and Scully investigate.


TEASER

INT. COCKPIT INTERNATIONAL PLANE - NIGHT

Over black, the opening notes of Borodin's "Notturno" from string Quartet No. 2 in D.

FADE UP:

Through the cockpit window, a cloudless night sky. A low rumble of voices is audible over "Notturno", no conversations can be heard.

CAMERA PULLS BACK, holding on the back of the Pilot and Co-Pilot's heads. CAMERA PULLS BACK through the curtains, the draping of curtains switches the angle.

IN the back of the plane, a Stewardess is preparing her refreshment cart. "Notturno" continues with a low rumble of voices.

The Stewardess begins to serve the passangers. She hands some coffee to a young couple, newly weds, obviously celebrating their new life together.

CAMERA CONTINUES DOWN THE AISLE, working back to the front of the plane. It's slow moving, prolonging the present events soon to be interrupted.

To the left, an old couple. And old man is sleeping, the best he can in an economy class seat. His wife is sitting next to him, watching the in flight movie. She places her hand on her husband's and hold it.

To the right, two businessmen are discussing something. They have documents in front of them. They obviously work for the government. They glance over across the aisle at a little girl, check up on her.

The little girl is asleep, cuddled up against the window she's next to. She holds a teddy bear that is missing an eye... it looks worn from the love. A stewardess covers her with a blanket. Paranoid, the two businessmen glance over, then continue their conversation.

After a brief moment, the plane loses power.

FADE OUT:

END TEASER


ACT ONE

INT. MULDER'S FBI OFFICE - NEXT DAY - MORNING

Mulder is seated at his desk flipping through some notes. He glances over at his answering machine. A red light is blinking, he hits the "PLAY" button.

KRYCEK (FILTERED)
Yeah, hey Mulder. I can't
make it in today (beat)
something important
came up.

Mulder looks up, as Scully enters the office, holding a box of doughnuts. She looks like she's had a good start to her day.

SCULLY
(happy)
What are you doing
here so early?

She places the box of doughnuts down on Mulder's desk.

SCULLY
Here's the doughnuts
you guys wanted.

Mulder ignores the doughnuts, he's got something more important on his mind. Scully just looks at him, waiting for what's to come next.

MULDER
London Airlines, Flight 194
from London to New York went
down this morning at approximately
three a.m., under unusual circumstances.

Scully wasn't expecting something this serious. Off her look:

MULDER
I got a call about an
hour ago, telling me
some of the more vague
details of the crash.
How just moments before
it disappeared from radar
it seemed to be suspended,
not moving, almost hovering
over the Atlantic.

Scully takes this all in.

MULDER
Then, almost by magnetic pull,
it plunged into the Atlantic
(beat) no exactly what I'd call
"luxury flying". (beat; off her
reaction) We've been invited
down to listen to the black box.

Mulder holds up two airplane tickets.

MULDER
Our flight to New York
leaves at four p.m.

Scully give him a look.

SCULLY
(dead panned)
Good morning to you too, Mulder.

Mulder looks up at her.

MULDER
I'm sorry Scully, i-it's just
been awhile since we've had
a really good case.

SCULLY
What's Krycek's take on this?

MULDER
(eating a doughnut)
Got me! He said he had
something 'important'
to do. (beat to swallow)
He can't come in.

Mulder takes a sip of coffee.

SCULLY
So I bought a dozen
doughnuts for me and you?

Mulder grins, and takes another doughnut.

MULDER
I'm a growing boy.

Off her look.

CUT TO:

INT. EAST 46TH ST. - NEW YORK

The setting sun is shining down on wooden blinds. Smoke covers the room. First Elder is standing in the shadows, Well-Manicured Man is sitting in a chair in front of the phone. The whole Syndicate is watching a news report about Flight 194.

On the TV, a news reporter, wearing a yellow rain coat, reporting from a boat, it's raining... Vancouver drizzle.

REPORTER (ON TV)
This is the scene where Flight
194 took a terrifying plunge into
the Atlantic. The Flight lost all
power at approximately 3:03 a.m.
and disappeared into the ocean
with no survivors. Officials say-

MARITA
There is no clear data
at this time. (she holds
up a clear vial with metal
a chip) However, this was
found in one of the recovered
bodies. (beat) That of a child.

WELL-MANICURED MAN
Do we know who?

The First Elder looks panicked, worried and at a loss about what to do.

2ND ELDER
(deadpan, paranoid)
What is going on here?

1ST ELDER
(paranoid, deadpan)
This can't be.

The Well-Manicured Man is seated in his chair, he's calm and more aware than the others.

WELL-MANICURED MAN
Perhaps the time is
closer than we think.

1ST ELDER
I don't like this.

2ND ELDER
What is being done to
cover this?

The Cigarette-Smoking Man is holding onto a cigarette in the corner of the room, he takes a drag.

CIGARETTE-SMOKING MAN
(superior)
I've taken all the necessary
precautions. (beat) The ship
is being relocated away from
the site.

No one let's down their paranoia.

CUT TO:

INT. INVESTIGATION ROOM - EVENING

Mulder and Scully enter the room, they are all serious. The Head Investigator of Flight 194 is standing next to a table with the black box.

HEAD INVESTIGATOR
It's all yours (beat) but,
I'm sure it won't be much help.

He motions to Mulder and Scully to take a seat and listen.

MULDER
Thank you.

Mulder and Scully take their seats at the table and turn on the reel-to-reel player.

Once again, Borodin's "Notturno" is heard. Mulder and Scully sit silently, listening to the conversation between the Pilot and Co-Pilot, they are listening to "Notturno".

PILOT (FILTERED)
Ah.. almost home. Can't
wait to get some good food.

CO-PILOT (FILTERED)
Need some coffee?

PILOT (FILTERED)
(chuckles a little)
Ohh yeah...

Background noises indicate coffee being poured into a mug. "Notturno" is turned off.

PILOT (FILTERED)
(serious)
Air traffic control, this
is Flight 194.

AIR TRAFFIC CONTROLLER (FILTERED)
Go ahead 194.

PILOT (FILTERED)
No problems, clear sky. Flight's
been great. (beat) We are currently
at 33,000 feet. Cabin pressure normal.
Looks like we'll be in early. Over.

AIR TRAFFIC CONTROLLER (FILTERED)
You'll have clearance. Over.

"Notturno" is turned on once again.

CO-PILOT (FILTERED)
(ruffling through a bag)
When I get home, I'm gonna
give my little girl this book
about all the different types
of flowers in England. (beat)
She's fascinated with flowers
and bees.

There's some more background noises of the plane's engine.

Scully gets a tear in her eyes, as "Notturno" continues from the tape. Then the tape stops. No more.

Scully looks up at Mulder, surprised by the abrupt end.

MULDER
He said nothing was wrong
with the plane, but I wasn't
expecting this.

There is a tense, quiet moment between Mulder and Scully. Both of them are numbed by how these people lost their lives.

The door to the room opens and the Head Investigator and the investigating agents enter the room.

HEAD INVESTIGATOR
Well, what do you think?

INVESTIGATOR #1
(sly, to Mulder)
Knowing your reputation,
this outta be good.

Mulder is not impressed.

MULDER
If you are suggesting that I'm
going to say it's the work of
little green men, you're mistaken.

Off the Investigator's embarrassed look:

MULDER
Actually I'm not sure what
to make of this yet. There's
no clue about the cause of the
crash on the tape, no reason to
believe there was anything wrong
(beat) until I learn more, I'll
get back to you.

Mulder gives the Investigator a sly grin and hands him his FBI card. He and Scully exit the room, and enter the hallway.

SCULLY
So tell me, what do you
think really happened?

Mulder gives her a look, Scully returns his look, awaiting his theory. She crosses her arms in front of her chest.

MULDER
I've been reading in "UFO
Sightings" about mass alien
abductions in Japan and Singapore.
What if someone, or something on
that plane caused it to be pulled
by a force, which ended the lives
of 342 souls on board.

SCULLY
I thought you said you
didn't think this was
the work of "little
green men".

Off Mulder's look:

SCULLY
So how do you plan on
proving your theory?

MULDER
Well, I was hoping
Skinner would get us
passes to see the crash
remains, and you could
examine the recovered bodies.

SCULLY
And what about Agent Krycek?

Mulder shrugs.

MULDER
I'm sure he'll help out
once he's done doing his thing.

Mulder walks off leaving Scully standing there, she soon follows Mulder out on their way back to the office.

CUT TO:

EXT. SCULLY & MARITA'S APARTMENT - NIGHT

Scully gets out of a taxi, she's returning home from the airport and from a confusing and unresolvable day at work. She enters the apartment building and climbs the stairs to her floor. As she is walking down her hallway, she takes her keys out of her pocket and enters.

Marita is on the phone with someone, se is speaking quietly. She waves at Scully and turns her back on her, she obviously is having an important conversation.

Scully heads to the kitchen to get a glass of water. A few moments later, Marita hangs up and Scully joins her in the living room.

SCULLY
Who was that?

MARITA
It was a business call (beat)
no one important.

They sit down on the couch, Scully kicks off her shoes and relaxes. There is an awkward tension coming from Marita.

SCULLY
So, we got a new case today.

MARITA
Flight 194?

SCULLY
Yeah, how'd you know?

MARITA
The people I work with
are investigating the
flight as well. (beat)
Do you have any leads?

SCULLY
As of yet (beat) no.
But Mulder does have
a theory.

MARITA
Can you discuss it?

SCULLY
I'm not sure if I should yet
(beat) not until we have a
chance to investigate the
remains. But his preliminary
thought is that it's alien.
(she laughs) I'm not sure how
Walter is going to handle yet
another alien case.

Marita laughs with her. They both know how irritated Skinner gets when Mulder asks him for help on an alien case.

TIMT CUT TO:

INT. AIRPLANE - NIGHT

Scully is seated on an airplane, with a handsome man and a little girl, a familiar girl, that shares the same hair color as Scully. They are all happy.

LITTLE GIRL
(to Scully)
Mommy! Mommy!

The Little Girl hugs Scully. Scully pulls her away and touches the little girl's hair back with her hand. The man smiles a the two of them, he looks down to his hand, which holds Scully's, both wear a wedding ring.

MAN
It's what we've always wanted.

He brings Scully's hand up toward his face and gently kisses it.

Out of nowhere the airplane JOLTS! Scully looks out the window with a worried expression on her face. She looks down a the Atlantic Ocean. A blue beaming light surfaces from out of the ocean, steadily and quickly rises and hovers by the side of the plane, just as the plane loses power and becomes stationary.

SCULLY
(whispering to herself)
No...

Scully takes hold of the little girl, holds her in her arms, as the plane starts to shake violently, the Man takes hold of Scully's hand, he knows this is the end for them. Off their terrorized, gentle, knowing looks:

SMASH CUT TO:

Scully suddenly sits up in her bed, in a cold sweat.

SCULLY
(screaming)
John!!

Realizing this is just a dream, Scully brushes her hair behind her ear, and sits there breathing hard, when she settles down, she begins to cry... her face in the pillow trying to calm herself so Marita doesn't hear her silent cries.

FADE OUT:

END ACT ONE


ACT TWO

From the annoyance of the commercial break...

FADE IN:

INT. EAST 46TH ST. - NEW YORK - MORNING

The room isn't smokey today... WELL-MANICURED MAN WINS! FANS GO WILD! WOO!

The room isn't filled with the usual Syndicate members, only a small portion of them... Alex Krycek, Marita Covarrubias, Well-Manicured Man, Deep Throat, and the mysterious man known as Quiet Willy.

Quiet Willy sits in the corner of the room listening very intensely.

Krycek stands, he seems very powerful. Marita sits in a chair, listening and very thoughtful. The Well-Manicured Man sits... very much in command. Deep Throat also sits.

WELL-MANICURED MAN
The Resistance is in our grasp.
Now is the time to proceed.

MARITA
Should I talk to her?

WELL-MANICURED MAN
This must be done carefully
and at the right time. If he
gets to her first, then there
is nothing we can do.

KRYCEK
And what if she refuses
to accept the truth and
exposes us to him?

DEEP THROAT
Even if she vaguely remembers
us, there won't be any problems.

MARITA
She may have already been
contacted by him. We must
approach this as if he has.

Marita looks to Krycek.

KRYCEK
I can take care of him.

WELL-MANICURED MAN
Don't interact with him, Alex.

Deep Throat looks to Quiet Willy. Quiet Willy knows what he has to do. He leaves. Krycek watches him leave... he and Marita exchange a look.

WELL-MANICURED MAN
(to Marita & Krycek)
You will tell her tonight.

CUT TO:

INT. HANGAR 22 - DAY

HIGH WIDE ANGLE - CRASH REMAINS

Scattered pieces of Flight 194 are spread out inside the hangar. NTSB members are scattered among the debris trying to find clues as to why the flight crashed. A certain section of the debris is surrounded by yellow crime scene tape.

CAMERA PANS DOWN

following Mulder and Scully being lead to the section blocked by the crime scene tape, by the Head Investigator.

Mulder looks a bit irritated.

HEAD INVESTIGATOR (O.S.)
... and really our main concern
is this section (beat) a burn
isolated to this area. (points at it)
Seat 27F.

All three of them squat down to get a closer look.

Mulder pokes around.

SCULLY
Have you taken any of
it to a lab to be analyzed?

HEAD INVESTIGATOR
Yes, in fact we did. We
found traces of radiation.

Off their looks...

HEAD INVESTIGATOR
Of course we recovered the body
that occupied 27F. We thought
perhaps the passenger had carried
something on, to cause this (beat)
but it was a young girl, carrying
only a few coins. When she was
examined by our medical examiner,
he found radiation burns, she was
the only one of the bodies recovered
with these burns-

MULDER
(points at Scully)
E-excuse me, but would Agent
Scully be able to take a look
at the passenger's body?

The Head Investigator doesn't see why not.

HEAD INVESTIGATOR
I'll inform them that you'll be coming.

He walks off, Mulder watches as he approaches a group of important looking men. Scully is looking at Mulder.

SCULLY
What's on your mind?

MULDER
I don't know.

Mulder's expression indicates that he knows that they will find something from inspecting the passenger's body. Scully gives him a look that suggests that she doesn't want to believe what Mulder is suggesting... alien abduction.

SCULLY
(irritated)
Mulder, not every plane
crash is caused by an
alleged alien abductee.

MULDER
I'm not suggesting. I'm
positive that's what caused
this crash.

Off her look.

MULDER
Why else would a radiation burn
be found on this section of the
plane, and on only one of the
recovered bodies. The plane dropped
perfectly horizontal into the ocean,
after losing power. (beat) Scully, we've
seen a case similar to this one before,
one involving the alleged abductee, Max
Fenig.

Scully doesn't know what to say, their conversation is interrupted by the Head Investigator.

HEAD INVESTIGATOR
I'm sorry Agents, but access
to the body has been denied.

Scully looks to Mulder.

MULDER
Thank you for your time.

Mulder hands him his FBI card.

MULDER
Contact me if you come
across any new information.

Mulder and Scully walk off.

SCULLY
(hushed tone)
Well now what?

MULDER
I have another way.

The Head Investigator watches them leave, a look of concern on his face.

CUT TO:

INT. MARITA & SCULLY'S APARTMENT - KITCHEN - 2PM

Marita and Krycek are the only ones there. Krycek is seated a the table. Marita is getting herself a glass of water. It's a little too quiet. Marita takes a seat across the table from him. She takes a sip of her water. Marita looks upset.

KRYCEK
(senses her feelings)
How do you think we should tell her?

Marita shrugs and looks away from him. There is a beat before anyone speaks.

KRYCEK
I think the easiest way
would be just to drop
it on her.

Marita shrugs again, she takes another sip of water. Another moment passes before anything is said.

KRYCEK
(understanding, caring)
Marita (places his hand on hers), I
know you don't want to do this (beat)
but you know what could happen if we don't.

MARITA
(a bit angry)
Yeah (pulls hand away from him), our
lives become a living hell, and we
go under the orders of the devil
(beat) he wins.

Krycek understands where she is coming from. He leans back in the chair.

MARITA
(upset, standing up)
Why do this to her? (beat)
Why take away the life she knows.

KRYCEK
(stands up, trying to comfort her)
You've gotten too close to her. (beat)
You shouldn't have.

MARITA
(raising voice)
How could I have avoided
it? I was meant to live
with her, befriend her,
keep an eye on her-

KRYCEK
-and you did. (beat) i-it
just happened you gained a
friend from it, our ally.

In the background, the apartment door opens and Skinner walks in. O.S. Skinner can hear Marita and Krycek arguing. He walks toward the kitchen.

SKINNER
(cautious)
Hello...

MARITA (O.S.)
-and how do we know th-that
this is exactly what the
Smoking Man wants us to do?!
We tell her and-

KRYCEK
-but she is vital to our survival!

Skinner enters the room, Krycek and Marita don't notice.

SKINNER
I hope I'm not interrupting anything-

Marita and Krycek stop arguing, all goes quiet. A tense atmosphere.

SKINNER
I was just stopping by to
see if Dana was home yet and-

KRYCEK
She's not.

Skinner nods his head and looks to Marita, she turns away from them, she's very upset about what's going on, she's about to cry and doesn't want Krycek and Skinner to know how close she has gotten to Scully... but she's not the only one.

SKINNER
What's going on here?

No one answers him.

SKINNER
The time has come, hasn't it?

Their looks answer his question. Skinners exits the apartment.

TIME CUT TO:

INT. SKINNER'S OFFICE - 2:45pm

The ashtray is being used. Someone O.S. taps his cigarette on the ashtray.

The door to the office opens and Skinner enters noticing someone is seated at his desk...

CIGARETTE-SMOKING MAN
I've been waiting for you.

SKINNER
(controlled anger)
For what?

CIGARETTE-SMOKING MAN
(evil grin)
I think you know why.

Smoking Man takes another drag then puts out his cigarette in the ashtray. He stands up. Skinner is cautious.

CIGARETTE-SMOKING MAN
(approaching Skinner)
So how are things with Dana?

SKINNER
What do you mean?

CIGARETTE-SMOKING MAN
(evil grin)
I think you know very
well what I mean.

The Smoking Man lights up another cigarette and puffs some smoke into the air. He glances down at Skinner's hand at his engagement ring.

CIGARETTE-SMOKING MAN
You two have gotten closer than
we planned. (beat) It's more than
just an assignment for you now.

SKINNER
I've got things under control.

CIGARETTE-SMOKING MAN
How sure of that are you? (beat)
She's a powerful woman. (takes a drag)

SKINNER
You should know.

CIGARETTE-SMOKING MAN
(smiles again, twinkle in eye, sly)
Should I?

After an awkward silence that leaves Skinner wondering exactly what was meant by that...

CIGARETTE-SMOKING MAN
I have some business to attend
to. (puts out cigarette) (re:
Skinner's engagement ring) I
trust you'll do the right thing.

The Smoking Man leaves the room. Skinner glances at the door and sits down at his desk and rests his head in his hands, he knows he's in deeper than he originally thought.

FADE OUT:

END ACT TWO.


ACT THREE

INT. SKINNER'S OFFICE - 3:45PM

Skinner is still seated at his desk. A buzz on his intercom grabs his attention.

SKINNER'S ASSISTANT (FILTER)
Sir, Agents Mulder and Scully
are here to see you.

SKINNER
(presses intercom button)
Send them in.

Mulder and Scully enter his office.

SKINNER
(standing)
Agents?

MUDLER
(demanding)
Why weren't we allowed
access to the bodies?

SKINNER
(confused)
Excuse me?

SCULLY
Agent Mulder and I were
denied access to examine
the recovered bodies from
Flight 194.

SKINNER
I was told you'd be allowed.

MULDER
Apparently no, Sir. We
were allowed to examine
the debris, that was all.

SCULLY
We believe that higher
powers of the government
are involved, they know
what happened, and are
trying to block our
investigation.

There is a beat of "oh crappit".

SKINNER
There's nothing I can do
about that now. It'd be
best to leave it up to
the proper authorities.

Mulder and Scully start heading toward the door to leave... Mulder isn't happy with Skinner's decision. As Mulder opens the door...

SKINNER
(sincere, very professional)
Agent Scully, I need to
speak with you alone.

Mulder gives them a look, and respects their privacy. He closes the door behind him so Scully and Skinner can be alone.

SCULLY
(concerned)
What is it Walter?

She places her hand on his shoulder, however he gently removes it.

TIME CUT:

INT. SCULLY & MARITA'S APARTMENT - NIGHT 8PM

Marita is sitting on the living room couch, reading a book, wearing her glasses. There is a roll of thunder outside, a storm is coming.

The door to the apartment opens and Scully enters. She is very upset and looks drained. She quietly closes the door and enters the living room. Marita looks up from her book, notices the look on Scully's face.

MARITA
(setting her book down)
What's wrong?

SCULLY
(hiding her feelings)
Nothing.

Marita doesn't buy it.

MARITA
Dana, I know you better
than this. (beat) Tell
me what's wrong.

Scully sits down next to Marita, she wipes a tear from her eyes.

MARITA
Did something happen?

Scully nods her head 'yes'.

SCULLY
(calm)
The engagement is off.
Walter said we can't
be together anymore.

Marita is stunned, but not surprised. She doesn't know what to say. She puts her arm around Scully's shoulder. They sit there in silence.

TIME CUT:

INT. MARITA & SCULLY'S APARTMENT - 11PM

The power is out from the continuing storm. Marita and Scully are sitting on the couch, the room is lit by candlelight.

SCULLY
...it felt right with Walter
(beat) What he said to me, it's
not him. I know him, he wouldn't
have done this unless something
was wrong. And even then, I'd hope
he'd be able to talk with me about it.

Marita listens and thinks for a moment before speaking.

MARITA
Dana, sometimes you have to
let go of things you love.
The only way to know if it
was really meant to be, is if
it comes back to you... give
him time.

Scully stands up, along with Marita. They hug each other.

MARITA
Now I think you need some
sleep. I'll call Mulder
tomorrow and tell him you'll
be in late.

SCULLY
Thanks.

Scully walks into her bedroom, leaving Marita standing there with a sympathetic smile on her face. The worry about what she needs to do shows through.

TIME CUT TO:

INT. SCULLY & MARITA'S APARTMENT - MARITA'S ROOM - 1:30AM

Considering how late it is, Marita's bed hasn't been touched. A single lamp is on. Marita is on the phone with Krycek. She is nervous and is pacing her room.

MARITA
(on phone)
I don't know, Alex. I don't
think I can do this.

KRYCEK
We have to, it's the right
thing to do. You know they
never intended to keep her
this way.

MARITA
But it will break who
she is now.

KRYCEK
She's already broken (beat)
We have to tell her now.

TIME CUT TO:

30 MINUTES LATER.

INT. SCULLY'S ROOM -2AM

A gentle light from the living room creeps in as Marita opens the door.

Scully is asleep , peaceful, unknowing to what is about to enter her life again.

Marita walks over to her bedside and sits down next to her friend. She waits a moment, to remember Scully how she is, before waking her.

Gently, Marita shakes Scully awake.

MARITA
(whispering)
Dana...

Scully wakes up, she thinks something is wrong because of the tone in Marita's voice. Scully immediately sits up, worried.

SCULLY
What is it, Marita?

MARITA
There's something we need
to talk about. (beat) Alex
is here.

Marita motions for Scully to follow her into the living room. Scully puts on her robe and slippers.

Scully enters the living room. Krycek is standing, his back to Marita and Scully, he turns around. He's holding a folder. Krycek notices the worry in Marita's eyes, he speaks to Scully first. He'd rather have Scully hate him, than see their friendship shatter. They all sit down, Scully in a chair and Marita and Krycek on the couch across from her.

KRYCEK
(very serious, looks
at Scully in the eyes)
What I'm about to tell you
is going to change your life
(beat)the past, the present
the future.

SCULLY
(looks to Marita)
What's going on?

Marita can't look at Scully, she feels the distance already.

KRYCEK
(diverting her attention)
You're not who you
think you are.

Scully gives Krycek a serious look, a concerned look.

KRYCEK
The memories you have, the
family you think you know (beat)
where you think you're going...
is not what it seems. The life
you remember has been a lie.

Krycek looks to Marita for help, knowing how important this is.

MARITA
This is your life. What
you have now, you chose.

SCULLY
(trying to understand)
What do you mean 'chose'?

MARITA
(showing a picture of a man)
This was your husband, John.
(shows picture of little girl)
This is your daughter, Jill.

Scully looks hurt, confused, doesn't understand why they are telling her this when it's not possible for her to have children.

KRYCEK
Eight years ago, John was
killed in an airplane crash
travelling to Europe. You're
daughter survived, and was
hospitalized in Germany. The
men we work for, denied you
permission to see her-

Scully looks up from the photos, tears in her eyes. She looks Krycek straight in the eyes.

SCULLY
(empty)
-why are you doing this to me?

There is a long, silent, tense pause. Marita and Krycek really don't know how to tell her the answer to her question.

SCULLY
How can you say this to me?
I've never seen these people
before in my life. (beat) For
all I know you could have created
these photos.

MARITA
You asked to have your
memories erased. You wanted
out of the project. Instead
of giving you what you asked
for, they tried to use you for
their own good. To have you
shut down Agent Mulder's work,
to stop him from uncovering what
they worked so hard to hide.

SCULLY
What do you gain by
telling me this?

KRYCEK
Because, like you, we
believe in Agent Mulder's
work. (beat) Without you
we cannot proceed in our
resistance against colonization.

SCULLY
(pissed)
So what you're saying is
that I've been living a lie.
Betrayed supposedly by men I
work with. Lost a family that I have
no recollection of and that I'm what
you need to proceed in some resistance.
(beat) You want me to believe what you're
telling me, when I have every reason to
suspect a hidden agenda? (beat) I won't
listen to this. I don't believe it!

Krycek and Marita share a nervous look, this isn't going as planned.

MARITA
(softly)
You aren't suppose to.

With that, Scully stands up, goes into her room, throws some random cloths into a bag, comes back into the living room, takes the folder they've shown her, grabs her jacket and keys and heads toward the door.

Krycek slams Scully against the wall, his arm pressed against her neck. Scully's bag drops to the floor.

KRYCEK
(whispering, forceful, threatening)
Scully, you have got to listen
to us. the fate of the world rests
in your hands.

SCULLY
(pissed, to Krycek & Marita)
Get away from me.

Scully glares at Krycek and then at Marita, she feels betrayed. Forcefully she pushes Krycek off her, grabs her bag and leaves the apartment, slamming the door behind her. The damage is done, there's nothing else Krycek and Marita can do right now. They've failed.

FADE OUT:

TO BE CONTINUED...

 

 

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