"Fox & Rat" Virtual Series - Season Six

Review By: Cerasi J.

Tonight is the final episode of the fab Season Six of Fox and Rat! Can you believe it? Where has the time gone?! Before I get to the review, I would like to thank Kristi and Cassie for giving me the chance to be a part of the FRVS team, not only by reviewing, but by letting me write my very own episode as well. =) Thanks guys!! Also, thanks to those people who took time from their busy days to e-mail me and tell me how much they liked my reviews, that meant a lot to me!! Thank you! =) Well, enough talk! On with the review! =)
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What could be any worse than betrayal? The betrayal of a best friend and Super Buddy would be on the top of my list. After a stange evening in which Mulder was trying to force Brad to become a member of Super Buddies, John offers Dana a ride home. But before she can jump in his truck and they ride off into the sunset, Monica decides it would be the perfect time to extract her Reyes Revenge on Johnny Jay. What happens next is unthinkable, John gets in his truck to drive home, alone, when a car zooms by and hits hits the back of the truck at full speed.

Now, it seems that time is running out, John is deep in a coma and the outcome doesn't look good. And now it seems that the same familiar face who wanted John dead wants Monica that way as well. Who is behind the hit-and-run? And the attack on Monica? It's up to Scully to find out, and when she cracks the case, you're in for a big surprise! Now Scully has to trust the lives of her friends to a man who lives on the run himself. Has she sealed the fate of John and Monica? Find out in this gripping season finale!

6x23 "advocatus diaboli"

Title: "advocatus diaboli"
Story by:
Cassie & Kristi
Written by:
Kristi
Date: January 18-19, 2004; January 26, 2004
Air Date: March 15, 2004
Rating: PG-13 (violence)
Series: FRVS - Episode #123
Spoilers: Past episodes of FRVS may be spoiled.
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: The continuation of "Forcing A Super Buddy".


FADE IN:

EXT. BELLA FLORA'S - 11:40 P.M.

Doggett's truck has just been rear-ended and flipped over onto the street from the hit-and-run accident. The car that hit him speeds away from the scene. Doggett's truck has hit parked cars, and glass has shattered all over him. He is unconscious, his face is cut and bruised from the air bag hitting him upon impact.

Rain drizzles down on them as Scully runs towards Doggett's truck, passing a shocked witness who is calling 911. Monica stands back in shock, eyeing the blue car that screeched around a corner. She gets a quick glance of the man in the driver seat: Alex Krycek.

In the distance, sirens are heard making their way to the scene of the accident.

CUT TO:

EXT. STREET - 11:41 P.M.

The dark blue car that just rear-ended Doggett's truck speeds past us. The car is undamaged despite having just destroyed Doggett's truck. There's no trace of a scratch or dent on it.

Inside the car, Alex Krycek is driving. He is alone. He feels no remorse for what he has just done to John Doggett.

He had been given orders by the Cigarette-Smoking Man to eliminate John Doggett and Monica Reyes. It's too bad Monica hadn't been in the truck as well. Now he'll have to find another way to take her out.

No doubt Monica and Scully will follow the ambulance to St. Vincent's Hospital. Incase Doggett was going to give both Monica and Scully a ride home, Krycek had called 911 before hitting the truck. There was no way he could afford hurting Scully in his elimination of Doggett and Monica.

Krycek knows that Scully will call him from the hospital. She and Doggett are close now, becoming more involved with one another with each passing day. Scully will need him to be there at the hospital with her. Mulder wouldn't be able to provide her the comfort she will need when Doggett dies. She will need Krycek's strength and friendship to help her, not Mulder's own cries of sorrow.

Eventually he will find an opportunity to take out Monica.

Krycek slows down his car and turns into a dark alley. He turns off his headlights and steps out of the car. The light from a streetlight provides him dim light to light the alley.

Krycek walks further into the alley, looking over his shoulder to make sure no one has followed him. No one has and he opens a door to a dark building and enters it.

INT. DARK BUILDING - CON'T

The building has been abandoned. Quiet scratching and clicking noises are heard by the rats in the walls. Krycek enters and looks around. He doesn't see who he's looking for. He cautiously shuts the door as thoughts of being betrayed by the Cancer Man enter his head.

Why isn't he here? Was Krycek set up as a patsy by the Syndicate? Or was he just being used for selfish reasons again. His thoughts are interrupted by the metallic click of a cigarette lighter lighting a cigarette in a dark corner across the room.

Krycek looks over toward the dark corner. The butt of the cigarette warmly lights up as The Cigarette-Smoking Man smokes his Morley.

CIGARETTE-SMOKING MAN
Don't be so surprised to see me, Alex.

The Cancer Man steps out of the dark corner and into the pale light.

KRYCEK
I did as I was ordered.

CIGARETTE-SMOKING MAN
Good.

KRYCEK
John Doggett is on his way
to the hospital. (beat) I
wasn't able to get Monica Reyes.

The Cancer Man eyes him in question.

KRYCEK
(re: eyeing question)
She wasn't in Doggett's truck.

The Cancer Man takes a slow drag.

KRYCEK
Is everything else
going as we planned?

CIGARETTE-SMOKING MAN
Of course it is. (beat) Mr. Follmer
his being flown into New York
as we speak.

KRYCEK
And your sure the case is flawless?

CIGARETTE-SMOKING MAN
Do you doubt me, Alex?

KRYCEK
Of course not, sir.

The Cancer Man takes another drag.

KRYCEK
I just need to be absolutely
certain that it's impossible
for him to come back to D.C.
until that case is solved. (beat)
It's the only way to get Monica.
(beat) John's her best friend,
she'll need someone to lean on.

The Smoking Man nods approvingly.

CIGARETTE-SMOKING MAN
Don't worry about Mr. Follmer.
We've got his situation under control

They are interrupted by Krycek's cell phone ringing. Krycek looks at his phone and sees that it's Scully. He answers his phone, looking at the Cancer Man the entire time.

KRYCEK
Hello?

INTER CUT TO:

INT. ST. VINCENT'S HOSPITAL - 11:55 P.M.

The emergency entry doors fly open and the paramedics are rushing Doggett in. He's in bad condition, blood is all over him.

Monica and Scully quickly walk into the hospital. Scully is on her phone, and is walking behind Monica. Monica is in a state of shock as the paramedics and doctors rush Doggett into the emergency room. She stops walking and watches the rush through the window. Scully holds back her emotions.

SCULLY
(into phone/distraught)
Alex, it's Dana.

INTER CUT BACK TO KRYCEK:

He's watching the Smoking Man, knowing his actions are under the eye of this black lunged son-of-a-bitch.

KRYCEK
("caring")
Dana, what's wrong?

INTER CUT BACK TO SCULLY:

Scully has grabbed a hold of Monica's arm and is leading her to a waiting room. As a medical doctor, she knows that whatever is going on in the E.R., Monica doesn't need to know.

SCULLY
(into phone)
It's John. He's been
in a car accident.

KRYCEK
Is he going to all right?

SCULLY
The paramedics were unsuccessful
in getting him to regain consciousness.

KRYCEK
I'll be right there. (beat)
Where are you?

Scully finally sits down next to Monica.

SCULLY
St. Vincent's.

KRYCEK
Is Monica with you?

SCULLY
Yeah.

Scully wipes away a tear.

SCULLY
(after a beat)
If you could get down here
right away, that would be-

KRYCEK
("caring")
-Yeah, yeah… Not a problem.
You hang tight and I'll
be right there, ok?

SCULLY
Thanks.

She hangs up the phone and leans back in her chair. So many things to do, so many people to contact… everything rushing through her head.

CUT TO:

INT. DARK BUILDING - CON'T

Krycek puts his cell phone away. He keeps his head down for a slight beat. Perhaps a little bit of remorse is coming to him. He looks up at the Cancer Man, who cracks a grin, knowing exactly what he's doing to Krycek.

The Smoking Man drops his finished cigarette to the ground.

CIGARETTE-SMOKING MAN
(a hint of amusement)
You better get going, Alex.

Krycek nods and heads to the door.

CIGARETTE-SMOKING MAN
Keep me informed of your progress.

Krycek opens the door and turns to face him.

KRYCEK
I always have, sir.

Krycek leaves the building and into the rain as the Cancer Man cracks another grin.

CUT TO:

INT. ST. VINCENT'S HOSPITAL - WAITING ROOM

Scully and Monica are still sitting in the waiting room. Scully is once again on her cell phone. She hangs up.

SCULLY
Brad isn't answering his cell phone.

She looks over at Monica, who hasn't said a word since they arrived at the hospital.

Scully makes sure to keep her emotions in check. She knows Doggett isn't in good condition, and the fact that he hadn't regained consciousness worries her the most.

Scully looks away from Monica and quickly wipes a tear from her eye. Now remembering why she couldn't continue with a medical profession. Hospitals remind her of the sadness of death and grief. She hates those two feelings. As an intern so long ago, a resident doctor made her inform a family that their daughter had died in the E.R.

She had cried for nearly two hours in a bathroom stall that day.

The white walls and cool temperatures of hospitals always remind her of that tragic moment. Because of that, she feels uncomfortable around doctors and hospitals.

MONICA
(out of nowhere)
Did you try his apartment? Maybe
he's there and not with Mulder.

Scully looks over at Monica once more, hearing the desperation in her voice. Scully can see the fear in Monica's eyes. Monica's never dealt with this kind of situation involving a close friend. Scully knows that right now, she needs Brad.

SCULLY
I'll call.

She picks up her cell phone and dials Brad's apartment number. No answer. She hangs up after a beat. She looks over and doesn't need to tell Monica, her sympathetic eyes tell her all she needs to know.

Monica looks away from Scully and down at the floor. Scully puts her arm around her to comfort her, separating herself from her own emotions, and letting the tough role of the medical doctor take over.

Moments later, Krycek enters the waiting room. Scully sees him almost immediately and goes over to him. She hugs him tightly. He wraps his arms around her and kisses her on the top of her head.

KRYCEK
(soft)
I'm so sorry, Dana.

Scully starts to cry, and Krycek holds her tighter. His apology was sincere, he never wanted Dana to be hurt by any of this. Nevertheless, he's got a job to do.

As he continues to hold Scully, his eyes look up and see Monica sitting alone, starring at the ground.

Krycek's cold eyes burn into her. He still has to do what he has to do.

Feeling his look, Monica looks up at him. He quickly retreats his eyes away from her as he holds Scully.

CUT TO:

EXT. NEW YORK CITY - 12:37 A.M.

Brad Follmer sits in a FBI Helicopter as it makes its way into New York City air space and heads towards the airport. Brad is flipping though a case file that Deputy Director Kersh handed to him as he boarded the helicopter. Brad slowly shuts the file and looks out his window at the large city. From way above, it looks peaceful and calm. Building and street lights below seem to twinkle like stars.

Moments later, the helicopter lands at the airport where a bucar is waiting for Brad close by.

Brad leaves the helicopter and is approached by Special Agents Martin Fitzgerald and Danny Taylor. (From the hit TV show "Without A Trace"). Martin shakes Brad's hand.

MARTIN FITZGERALD
(yelling over helicopter)
We're glad you could make
it. This is Agent Taylor.

Brad and Danny Taylor shake hands. They all head over to the bucar where it's a little quieter.

BRAD
(to Martin)
I'm a little confused as to why
your SAC through it necessary for
me to be brought in. (beat) I
reviewed the file and I don't see
how your office can't handle it alone.

They get in the bucar. Danny gets in the driver seat, Brad shot gun and Martin in the back.

MARTIN FITZGERALD
I'm not sure why. We were hoping
You could shine some light on his decision.

BRAD
Sorry, I can't. (beat) I'm heading
home from dinner and I get a call
from the Deputy Director saying I
need to come up here because my
assistance is needed. (beat) He
hands me a file and gets me on my
way. To be honest, I was expecting
it to be something with Senator Clark.

DANNY TAYLOR
That would make a little
more sense, wouldn't it?

BRAD
Maybe Malone knows.

Brad is suspicious already, and he's not a lone. The missing person's unit in New York rarely needs assistance from an Assistant Director in Washington, D.C.

Sure, Brad once worked in the Violent Crimes Division with missing person's back before Doggett's son went missing and was the SAC at the office, but it's still odd to have him come all the way up to New York to assist a very capable team.

With suspicions rising on the real motive behind the New York SAC and the Deputy Director, we…

TIME CUT TO:

INT. ST. VINCENT'S HOSPITAL - WAITING ROOM - 2:45 A.M.

Monica is sitting alone in the waiting room, once again starring off into nothingness. She shuts her eyes, as if willing away an intense pain. Her eyes shut tighter as she puts her head in her hands.

Pressure intensifies, blocking out her current surroundings. Her eyes well up with tears, as the pain intensifies inside her head. Sharp pain stabs her brain as the sudden image of a cabin covered in snow flashes in her head. An anticipating feeling of something about to happen grows inside of her, and just as that something is about to happen:

KRYCEK (O.S.)
Monica?

Monica snaps out of her vision with a start. She looks forward not realizing Krycek is standing right next to her. She catches her breath.

KRYCEK (O.S.)
(concern)
Monica?

Monica looks up at him. He gives her a caring sympathetic smile.

KRYCEK
You holding up?

He takes a seat next to her. She eyes him cautiously.

MONICA
(determined/to the point)
You hit him, didn't you?

Krycek wasn't expecting this. He's thrown for a loop.

KRYCEK
("concern")
What? Why would I do that?
(beat) Why would you think that?

MONICA
I saw you. (beat) In that
blue car. I saw you as-

KRYCEK
("sympathetic")
-Monica, you've had a rough
night. (beat) I would never
do something like that to
a friend, or anyone.

He sounds sincere. You could polygraph him and he'd pass. Monica let's her guard down. She looks down at the ground. Maybe she was wrong and only thought she saw him.

MONICA
(quiet)
I'm sorry…

KRYCEK
It's ok.

Krycek puts his arm around her shoulder. Moving in on his prey…

Moments later, Scully comes in. Bad written news all over her face.

Krycek is the first to notice. He leaves Monica's side and goes up to Scully. Monica looks up.

Scully can't bring herself to say what she's been told.

KRYCEK
(worried)
Dana, what is it?

She shakes her head as tears roll down her cheeks. She hugs Krycek.

SCULLY
(weak)
It's gotten worse, Alex… He's
in a coma. Doctors don't think
he'll make it…

She shuts her eyes and holds onto Krycek. Even though Scully said her words quietly, Monica heard her.

Monica quietly gets up and leaves the waiting room. Krycek watches her as she talks to John's doctor about something. The doctor nods his head and Monica enters John's hospital room.

SCULLY
(composing herself)
I should call Mulder and
Walter. (beat) His family…

She starts to walk away from Krycek, but he stops her.

KRYCEK
You've had a hard time. I'll
make the calls, all right?

Scully nods her head. Krycek helps her to her seat in the waiting room.

KRYCEK
(soft)
I'll be right back.

Scully nods her head and leaves. Not only does he leave the waiting room, but he leaves the hospital building.

EXT. ST. VINCENT'S HOSPITAL - ALLEY

Krycek walks into the dark alley, checking behind him to be sure no one follows him. He goes behind a dumpster and pulls out his cell phone and dials.

KRYCEK
Sir, it's Alex. (beat) The
doctor says he's in a coma.
His chances are slim.

There is a long beat. Krycek continues to check his surroundings.

KRYCEK
Yes, sir. I'll have them
both dead within the hour.

Krycek hangs up his cell phone.

CUT TO:

INT. DOGGETT'S HOSPITAL ROOM - ICU - 3:05 A.M.

Doggett is laying motionless in his hospital bed. Above him, Monica's hands hover, sending him good vibes and strength. Her eyes are closed as she concentrates.

She slowly opens her eyes and looks down at him.

MONICA
(whisper)
Please, John…

She takes a seat next to his bed and watches her friend, hoping for a sign. Hoping for anything. A tear slowly makes its way down her cheek as thought of blame and guilt enter her head.

If only she would've let him and Scully talk. None of this would've happened. If only she wouldn't have been so stupid. Why did she have to drag Scully away from him? That car would've missed his truck if he would've been a second late. He would be happy now, not like this.

Monica looks over at him.

MONICA
(soft)
I'm sorry, John.

She wipes a tear from her eye.

Unknowing to her, but Krycek has been standing in the door way watching her.

KRYCEK
(soft)
Monica?

Startles, she looks over at him.

KRYCEK
Need to talk?

Monica shakes her head "no", and looks away from him. Guilt tormenting her inside. Krycek comes in and stands a few feet away from her.

KRYCEK
You shouldn't be alone right now.

MONICA
(not listening to him)
This is all my fault.

She looks up into Krycek's emerald eyes. He listens.

MONICA
If I hadn't-

KRYCEK
-This isn't your fault, Monica.

MONICA
Then why does it feel that way?

Krycek moves closer to her.

KRYCEK
It's only natural to blame yourself.
What happened, happened. Don't
blame yourself. He doesn't need
that right now.

She lets out a heavy sigh, swallowing her guilty feeling, her fear, and her sadness.

KRYCEK
How about we go get coffee
or something? Some food maybe.

Monica nods her head, knowing she needs to take care of herself. She stands up and heads toward the door. Krycek stops her, grabbing her shoulders. She looks at him with tears in her eyes.

KRYCEK
(soft)
Come here.

He pulls her close to him. Monica feels uneasy around him, sensing he's not entirely sincere.

KRYCEK
You haven't had a hug all
night, since Brad is in New York.

He pulls her in tighter and kisses her on her forehead.

MONICA
(confused)
Wait, how do you know where Brad-

Monica is cut off by a sudden sharp pain. A flash of Krycek enters her mind. A vision of her and Krycek in the hospital cafeteria. Lights are off and the room is dimly lit. They are all alone. Her back is to him, and he's pulling a sharp knife from his coat pocket. He violently attacks her from behind, slicing the knife across her throat from left to right.

Monica quickly snaps out of the vision. She jolts back a bit. She's confused as she realizes where she is. Krycek is still holding her in his embrace.

KRYCEK
How did I know what?

Monica calmly pulls away from him and looks into his emerald eyes. She's confused by her vision. He doesn't seem to want to hurt her. She didn't hear his question.

MONICA
Huh?

KRYCEK
You didn't finish your sentence.

Krycek looks into her eyes, asking her to say what she was going to say. She pulls away from his embrace.

KRYCEK
(worried)
Are you all right?

MONICA
Yeah. (beat) You got a
hold of Brad?

Krycek looks at her, keeping his calm. He had forgotten that no one has been able to get a hold of Brad in New York.

KRYCEK
(smoothly recovering)
Yeah, I did. He was called
up to New York to assist
with some case.

MONICA
Oh…

Krycek looks deep into her wise eyes.

KRYCEK
Let's get something to eat.

He puts his hand gently on her lower back and guides her out of the hospital room.

CUT TO:

INT. HOSPITAL CAFETERIA

The cafeteria is empty and cold. Only a few florescent lights are on, leaving the room dim. Krycek and Monica enter the room. An uneasy feeling comes over Monica, this sight is all to familiar to her. She remembers her vision.

KRYCEK
Looks like their not
serving anything.

Krycek looks around the room and spots a vending machine.

KRYCEK
What anything from the machine?

Monica shakes her head "no". Krycek shrugs and goes over to the machine. Monica takes a seat at a table. Krycek comes back over and sits down across from her.

A chilling breeze washes over Monica, she shutters and folds her arms to keep warm. Krycek watches her.

KRYCEK
You haven't said much since
we left Doggett's room. (beat)
Something bothering you?

Monica looks up at him as he eats a potatoe chip.

MONICA
I'm worried for John.

Krycek nods his head. They sit in silence for a beat.

MONICA
(testing)
I'm a little cold. (beat)
Could I borrow your coat?

Krycek looks into her deep brown eyes. She intensely stares back at him, testing him and her vision. The silence isn't long, but to Monica it feels like a life time of hesitation.

KRYCEK
(suspicious of her)
Yeah… sure…

Krycek stands up and walks over to her, keeping his eyes on her. Monica tenses as he stands above her. She's almost certain by the look he gave her that her theory is correct. He's like a hunter who has found his prey…

Krycek takes off his coat, pulling out the sharp knife Monica saw in her vision. Monica's eyes look back at him, trying to see him. Tension is thick. She can feel him, feel his preconceived actions, his thoughts…

He puts his coat around her shoulders. His touch freezes her. She can sense the knife in his right hand. It sharply reflects a light into her eyes.

Time seems to slow as her eyes widen, realizing what her vision warned her of: he would attack her by slicing her through with his right hand, in a mastered left to right motion.

She's not about to let that happen. There's too much at stake for her to put up with his shit.

Quickly, Krycek violently takes hold of her head and shoulders, holding her down, unable to move.

MONICA
(she knows his next move)
No…

Krycek moves in for the kill in a split second. He violently thrusts his knife at her, going for the left to right slice. Determination drives him.

Almost automatically, Monica blocks the knife from slicing her throat. Her left hand getting in the way, saving her life. Her left palm is deeply cut by the sharp blade, leaving her a deep, bloody gash.

With all her strength, Monica pushes Krycek's death grip off of her and jumps out of her seat. The chair falls to the floor. Blood drips from her hand to the floor.

Krycek is stunned, not expecting her to stop him. With anger, he lunges at her. Monica manages to hit him away, further driving anger into him.

The knife falls to the ground.

Monica tries to make a run for it, but Krycek is too close to her. He violently grabs hold of her, holding her arms at her side, preventing her any good movement. Monica tries to fight away, trying any strange movement to break free.

She fails.

Krycek's too strong for her. The only thing she can think of to do is fall to the ground, taking him with her. He falls on top of her, holding her down. Anger motivating his actions.

Krycek looks deep into her eyes, filling her with fear. Uncertainty weakening her.

Out of the corner of Monica's eye, she sees the knife. Not breaking eye contact with him, she forces her right arm free from him.

She grabs the knife and takes a fast swing at Krycek, giving him a deep gash across his left cheek.

He screams in pain and hits her hard across the face with his fist.

Stunned, Monica drops the knife out of her hand. It falls to the ground with a metallic clank. Krycek takes her stunned moment as an opportunity to gain control of her again. He holds her hand above her head with the angry grip of his right hand as he grabs the knife with his other hand.

Though Monica is a little disoriented, she's not going to take another moment of this shit. With all her strength and determination, she breaks free from him once again. She gives him one hell of a punch that only a Reyes could give, knocking him off of her and to the ground.

She quickly gets up and hauls ass out of there. Leaving Krycek to loose consciousness on the floor.

INT. HALLWAY - CON'T

Monica runs out of the cafeteria, with a small limp that slows her down. She must have hurt her ankle when she forced that fall to the ground.

There is no doubt in her mind that Alex Krycek hit John. She knew her eyes couldn't lie to her. Since the moment Krycek came into the hospital, she's felt uneasy.

Krycek had tried to kill John, and now her. She's not about to let that rat bastard take her out, and he's definitely not going to take John out either.

What the hell is going on here? Why try to kill your friends? How is it he's the only one who got in contact with Brad?

Brad.

Her thoughts racing with her down the dark empty hall.

She continues her struggled run as she pulls out her cell home and calls Brad.

She has to stop running to stop the pain in her right ankle. Brad's cell phone rings and rings. His voice mail picks up.

Monica looks around frantically.

After the beep:

MONICA
(frantic; into phone)
Brad, it's Monica. Alex Krycek just
attacked me. He tried to kill me. He
tried to kill John. (beat) Something's
going on here, and I think your up in
New York under false circumstances.
Who ever is behind this needed you out
of the way so they could get to me. (beat)
It's a set up for something. A conspiracy.
I don't know. I don't know what to do, or
who I can trust.

She looks around, thinking of what to do.

MONICA
(frantic)
I need to get John out of this
hospital. (beat) Please Brad,
when you get this, get the hell
out of New York.

She looks around for a quick beat, fear growing. She's uncertain now.

MONICA
(worried)
I love you, Brad.

She hangs up and looks around, clueless as to what to do, or who to trust. The only thing she can think of to do is get John out of this hospital.

CUT TO:

INT. FBI FIELD OFFICE - NEW YORK - 3:15 A.M.

VIOLENT CRIMES DIVISION
MISSING PERSON'S UNIT

The floor is dimly lit. Most of the agents have gone home to be rested and awake for the new day.

Brad is sitting at a conference table looking at the case file, witness reports, etc. Martin Fitzgerald is there with him.

In a separate office, a man sits alone looking at something on his computer. This is Special Agent in Charge Jack Malone. He's the head of the Missing Person's Unit.

Brad slams the case file down in frustration, followed by his glasses. Martin looks up at him from a paper he's reading.

BRAD
This is bull shit. Someone's
not tellin' the truth.

Martin sets down his paper.

MARTIN FITZGERALD
You mean the witness?

BRAD
Yeah. This guy, who supposedly
knows Craig Watkins is beating
around the bush with every god
damn question. And when he does
answer, he answers vaguely.

Brad rubs his tired eyes.

MARTIN FITZGERALD
Welcome to New York…

Brad looks up at him.

BRAD
(not happy)
Yeah, don't I know it. Every
asshole in town wants to be a
big shot, and when given even
the slightest change, they'll
lie to federal agents just to
get their name in the papers.

MARTIN FITZGERALD
Good to know things haven't
changed since you were SAC.

BRAD
How is that good?

MARTIN FITZGERALD
Because it's safe to say that
humans are creatures of habit.

BRAD
I like your use of
the word "creatures".

Brad lets out a sigh.

MARTIN FITZGERALD
Look, Brad, you haven't taken
a break since you got here.
(beat) I doubt you had any sleep
when you got called in. Why
don't you take a break.

Brad nods.

BRAD
I'll be back.

MARTIN FITZGERALD
Take you time.

Brad leaves the office and goes down the hall toward the break room.

INT. BREAK ROOM - CON'T

Brad pours himself a cup of coffee and sits down on the couch exhausted. His head falls back as he lets out a tired sigh and looks up.

He shuts his eyes and the first image that enters his mind is Monica. His head pops back up.

BRAD
(mad at himself)
Shit, she has no idea.

He pulls out his cell phone and turns it on. A message pops up alerting him of a new voice mail. There's no doubt in his mind that it's Monica. She's probably fearing the worst… the last she knows, Mulder was dragging him off to a toy store. Brad has never been so relieved to get called out on a case.

Brad puts the phone to his ear. The first words of Monica's message bring a smiles to his face: "Brad, it's Monica." As the message continues, the smile quickly disappears. Concern takes over his expression. She sounds frantic, frightened, and at a complete loss. His mind can't even comprehend what he's just heard.

Her last words, sincerely meant: "I love you, Brad." Then the line does dead. Brad feels as if she were saying a "goodbye" forever. Her words haunt him.

He quickly leaves the break room and heads to Jack Malone's office. Monica's words worry him. Alex Krycek trying to kill her, and John. What the fuck is going on?

Without hesitation, Brad walks into Jack's office.

INT. JACK MALONE'S OFFICE - CON'T

Jack looks up from his computer at the sudden entrance of Brad.

JACK MALONE
Did you find something?

BRAD
No, I can't be here right now.
My finacé left me a message
saying that someone has tried
to kill her. I need you to get
me back to D.C. right now.

This was the last thing Jack was expecting to hear.

JACK MALONE
I'll call the Deputy Director.

He starts to dial his phone.

BRAD
If Kersh gives you any B.S.
get me on the phone.

Jack nods his head as he finishes dialing Kersh's number.

KERSH (FILTERED)
Deputy Director Kersh.

JACK MALONE
Yes, this is Jack Malone up
in New York.

KERSH (FILTERED)
How's everything up there?

JACK MALONE
Well, I've got your Assistant
Director in here-

KERSH (FILTERED)
-Yes?

JACK MALONE
And I don't think he's needed.
An emergency has come up concerning
his finacé, and I think it's best if-

KERSH (FILTERED)
He can't come back to D.C. until
that case is resolved. He should
know better than to deal with
personal issues when on the job.

JACK MALONE
Yes sir, I'm aware of that, however
he says his finacé's life has been-

KERSH (FILTERED)
-The answer is no. I don't
want to keep this nonsense
conversation wasting anymore
of the Bureau's time.

The line goes dead after Kersh angrily hangs up. Jack looks up at Brad. He hangs up the phone.

BRAD
He said "no", didn't he?

Jack nods his head.

BRAD
Listen, she said that she thinks
there's some conspiracy going on,
and that she believes I'm up here
under false circumstances. (beat)
I don't doubt her.

Jack listens, knowing that there really is no reason for him to be here.

JACK MALONE
If that's true, then we'll have
to make it seem like you're still
here. (beat) We'll have no problem
doing that.

BRAD
Good.

JACK MALONE
Get Martin to drive
you to the airport.

Brad nods his head and leaves the office. This whole situation is suspicious and he's not about to be played.

CUT TO:

INT. DOGGETT'S HOSPITAL ROOM - ICU - 3:20 A.M.

Monica walks into Doggett's room. Nothing has changed since she was here last. She goes over to him at a complete loss at how to get him out of here.

Blood from her hand drips to the floor. The drop can be heard, reminding Monica of her wound. She looks at her hand, then around the room. She has to find something to stop the bleeding. Her eyes catch a cabinet with gauze in it.

Monica goes over to the cabinet and takes out the gauze. She goes over to the sink and washes the wound with hot water. She winces at the pain. Blood continues to rush out of the cut. She grabs the gauze and wraps it around the wound several times.

She takes a deep breath to swallow the pain as she turns to face John.

Monica goes over to his bedside and takes hold of his hand. She sits down in the chair next to him and shuts her eyes. Concentrating on find him, reaching him… wherever is mind may be during all this.

She continues her meditation, her search to find him and bring him back.

Deeper and deeper.

She takes a deep breath and slowly releases it. Traveling deeper into the mind, finding his soul.

CUT TO:

EXT. LA GUARDIA AIRPORT - NEW YORK - 3:45 A.M.

An airplane is waiting for Brad. He is on his cell phone, trying to reach Monica. He gets no answer. He hangs up and turns to Martin.

BRAD
I'm going to call you to
keep you updated. If Monica's
right, I don't want to take
chances on something bad happening
to me, you know?

MARTIN FITZGERALD
Yeah.

BRAD
I trust you guys up here.

Martin nods his head as Brad heads toward the airplane.

CUT TO:

INT. DOGGETT'S HOSPITAL ROOM - 3:50 A.M.

Monica is still holding Doggett's hand, in a state of deep meditation. Behind her, Scully pokes her head in.

SCULLY
(quiet)
Monica?

Monica can't hear her. Scully waits a few beats, then decides to leave her alone to do whatever it is that she's doing.

INT. ICU

Scully goes up to a desk where a nurse is sitting.

SCULLY
Excuse me.

The nurse looks up at her.

SCULLY
I'm looking for a man I was
here with. He's about six foot
one, green eyes, brown hair,
he might have hit on you?

NURSE
Oh him, the one
wearing the black coat?

SCULLY
Yeah.

NURSE
I last saw him heading
down to the cafeteria.

SCULLY
Thank you.

Scully walks away from the nurse and heads to the elevator.

CUT TO:

INT. HOSPITAL CAFETERIA

Krycek is slowly coming to after that punch Monica gave him. His eyes flutter open and he slowly sits up. His whole face is throbbing in pain, and that's just from the punch that took him out. The nasty gash on his left cheek is still bleeding. Krycek takes his left hand and touches the wound.

It hurts like hell and he winces in pain. He removes his hand, which is now covered in blood.

KRYCEK
(anger)
That bitch…

He slowly makes his way up to his feet. He bends down and picks up the blood covered knife.

A distant ding of an elevator catches his attention. He snaps a look towards the cafeteria entrance. He quickly hides the knife, just as Scully enters the cafeteria.

SCULLY
Alex, I've been looking
all over for you.

She stops when she sees the gash on his face.

SCULLY
(concern)
Oh my god, Alex…

She goes up to him to inspect his wound. He winces.

SCULLY
(concern)
What the hell happened to you?

KRYCEK
I got attacked.

SCULLY
(shocked)
Attacked?

She makes him sit down at a table.

SCULLY
(concern)
Who did this to you?

KRYCEK
I don't know…

SCULLY
You're going to need stitches, hun.

She makes him stand back up and they head out of the cafeteria.

INT. HALLWAY - CON'T

Scully is helping Krycek walk, even though he has no leg injury. She presses the button for the elevator. They wait as the elevator makes it's way down.

SCULLY
(concern)
You didn't get a good
look at your attacker?

KRYCEK
No…

Scully looks at him with sympathy.

SCULLY
Good thing it happened
in a hospital, right?

KRYCEK
Yeah…

Scully smiles at him, hoping to make him feel better.

SCULLY
And here I thought this whole
time you were trying to comfort
Mulder over the phone. (beat)
Probably didn't get a hold of
Walter or John's family, huh?

KRYCEK
No.

He shakes his head.

The elevator dings open and there stands Monica and an exhausted Doggett (out of his hospital gown). He's leaning on Monica for support.

Monica's eyes widen when she sees Scully with Krycek.

Scully looks into the elevator surprised.

SCULLY
(concern)
Monica? John? (beat) I
don't think he should be up.

MONICA
(dead serious)
Dana, stay away from him.
He tried to kill me, and
he's the one who hit John.

Scully looks at her doubtfully, then looks at Krycek.

SCULLY
(not believing)
He wouldn't do that…

MONICA
See that cut on his face. (beat)
I gave him that in an attempt to escape.

Monica unwraps her own wound to show Scully the similarities between their wounds. Same knife…

Scully looks at Monica's hand, then looks to Krycek wound.

MONICA
I'm not lying to you, Dana.
Something's going on here
and for some reason, Krycek
wants us dead.

Scully looks into Monica's eyes. There's no way in hell Monica is lying to her.

Scully steps away from Krycek.

SCULLY
(wanting the truth)
Alex?

Krycek doesn't say a word. He doesn't have to. The look on his face and in his eyes tell Scully that Monica is right. This angers Scully.

SCULLY
Why them? They haven't done anything.

Krycek doesn't answer. He slowly backs away from them, glaring each of them down.

SCULLY
(anger)
Is this him? That smoking
son-of-a-bitch? What does he
want? (beat) Me?

Krycek doesn't answer.

SCULLY
(threatening)
Answer me.

Krycek smirks at her.

Doggett attempts to step forward, still being supported by Monica.

DOGGETT
(threatening)
You answer her.

Doggett intensely stares him down. Krycek doesn't crack, not even at the sound of his angered rough voice.

DOGGETT
(threatening)
You answer her, or you answer
to me. (beat) You threaten my
life, Monica's life… Dana?
You better be watching your back…

Doggett means what he's saying. You don't cross him. If he weren't injured, Krycek would be a little more scared…

Krycek doesn't cower.

KRYCEK
(threatening)
You can threaten me all you
want, Mr. Doggett, but it
is your days that are numbered.

Krycek glares back at Doggett. He slowly backs away from them, no fear to be seen. He changes eye contact from Doggett to Monica. He looks into her eyes coldly.

KRYCEK
(threatening)
You and Ms. Reyes.

Krycek smirks at them and disappears through a side door.

Scully can't believe what is going on. Someone she's trusted for so long turns his back on her, and now he's threatening her friends. She shuts her eyes in anger, knowing of only one man who could be behind this… Cancer Man.

MONICA
(afraid)
What the hell is going on?

SCULLY
I don't know, but I'm
going to find out.

She gets in the elevator. The door closes.

INT. ELEVATOR - CON'T

Scully turns to Doggett in disbelief. He's the last person she thought she'd see walk today. She goes over to him and hugs him. He does his best to return her hug, but he is weak, not only from the coma, medication, but also from the car wreck. His right arm is broken and in a cast, making it difficult to hug Scully.

SCULLY
(still hugging Doggett)
One of these days you'll have to
explain to me how you're out of
that coma right now.

She pulls away a bit and smiles at him.

DOGGETT
What about Alex Krycek?

Scully lets go of Doggett and lets out a sigh.

SCULLY
He's a very serious person…
there's a lot you don't know
about him… (beat) We need
to get you two somewhere safe.

DOGGETT
My cabin?

Scully shakes her head "no".

SCULLY
They probably know about it.

MONICA
They?

Scully doesn't bother to explain the story of who "They" are to Monica. The less they know, the better.

DOGGETT
So where is a safe place?

Scully thinks for a beat then pulls out her cell phone and dials a number. Doggett and Monica watch her.

SCULLY
(into phone)
John, it's Dana. (beat)
I need your help.

Doggett and Monica share a look as they both wonder who this John guy is.

TIME CUT TO:

EXT. EMPTY HIGHWAY REST AREA - 4:30 A.M.

Scully, Doggett and Monica are in Scully's car, waiting for this mysterious "John" guy to show up.

Scully and Doggett are in the front seat, and Monica is in the back.

DOGGETT
So who is this guy?

SCULLY
Someone I have always trusted.
(beat) I trust him with my own life.

Doggett nods his head.

Bright lights come at them from an approaching car.

In the back seat, Monica winces in pain. She shuts her eyes tightly, willing away another headache. She grabs her head in pain, leans forward and bites her lower lip, letting out a small whimper of pain.

The car stops in front of Scully's car. A man gets out, leaving the car lights on.

Scully looks over at Doggett.

SCULLY
That's him. (beat) You and Monica
stay here for a moment.

Doggett nods his head and Scully leaves the car. He looks back at Monica and grows concerned.

DOGGETT
Monica?

Monica doesn't answer him. The last thing she want to do is talk when her head feels like an explosion has gone off inside.

EXT. REST AREA - CON'T

Scully goes over to the man who drove up. He's John Montgomery, the man now working with the Smoking Man and who proved his loyalty to him by entering his and Scully's own daughter into The Project. All of this unknown to Scully.

JOHN MONTGOMERY
(not happy)
You know I'm taking a
risk coming out here, Dana.

SCULLY
I know, and I'm sorry.
But you know I'd never
contact you unless it
wasn't very important.

Montgomery listens.

SCULLY
Alex Krycek is trying to
kill my friends. I believe
this has something to do with
him. (beat) I need them to
be safe while I get to the bottom
of this situation.

Montgomery still isn't thrilled about this idea.

SCULLY
You're the only one I trust, John.

She looks into his eyes. Montgomery breaks eye contact and looks into Scully's car at Doggett and Monica.

JOHN MONTGOMERY
They're important to you?

SCULLY
Very.

Montgomery nods his head.

JOHN MONTGOMERY
All right.

SCULLY
(relieved)
Thank you.

Montgomery is about to walk away when:

SCULLY
(hesitant)
John?

He turns to face her.

SCULLY
I was just wondering
how Jill is doing?

JOHN MONTGOMERY
She's doing fine. (beat) Looking
more like you with each passing day.

He smiles at her, and she can't help but smiles. Little does she know, but his words are untruthful. He turns away from her and gets in his car.

Scully goes over to Doggett's side of the car and opens the door.

SCULLY
His name is John, and he's going
to take you guys somewhere safe
while I take care of things here.

Doggett nods his head. Scully looks back at Monica, who is still in pain from her headache. Scully looks to Doggett concerned.

SCULLY
(low)
Is she all right?

DOGGETT
She says she's been
getting terrible headaches.

Scully nods her head.

SCULLY
Let me help you out.

Scully helps Doggett out of the car. He's still weak from the medication. The back door opens and Monica steps out of the car. The pain in her head has diminished, but it's still there.

MONICA
I have a bad feeling about this…

SCULLY
Monica, I promise you, you'll
be safe with him. You have my word.

Monica reluctantly nods her head, but she can't help but listen to the feeling she's getting from this situation.

Scully helps Doggett over to Montgomery's car. Before he gets in, he turns and gives her a hug.

SCULLY
(reassuring)
I'll see you soon, ok?

Doggett nods his head, trusting her. She hopes she can get everything fixed. Doggett gets in the back seat of the car.

Monica slowly makes her way to the car. She's unsure about this, and after the Krycek incident, she's more of a believer in her feelings than she was before.

She quickly gets in the car and sits next to Doggett. As Monica shuts the door, Montgomery takes off, leaving Scully alone, hoping she can trust Montgomery with John and Monica's lives.

FADE OUT:

TO BE CONTINUED...

 

 

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