"Fox & Rat" Virtual Series - Season Seven

 

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!

7x01 "mea culpa"

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: 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: It is written, so shall it be done...


Previously on ďFox & RatĒ: 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. Scullyís voice over takes over all sound, as we enter her inner monologue.

DANA SCULLY (V.O.)
I donít regret the choices Iíve
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 sheís 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
Ďyesí had been a Ďnoí, 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. Ė 5:20 A.M.
MARCH 16, 2004

The pavement is wet from the nightís 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 Monicaís cell phone number hoping sheíll pick up. Worried and panicked is an understatement for what heís feeling. Monica is only four weeks pregnant and Alex Krycek is trying to kill her. Once again, Brad gets Monicaís 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. Heís 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, itís me. Just letting
you know Iím back in D.C. (beat)
Yeah, Iíll 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. Monicaís 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 canít 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 heíd 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 ďAlex Krycek IncidentĒ is just some silly prank he and Mulder devised in a late night giggling session.

TIME CUT TO:

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

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

INT. THE ALEXANDRIA APARTMENTS Ė CONíT

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 Ė 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 Monicaís bedroom.

INT. BEDROOM - CONíT

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 Mulderís Super Buddy dinner.

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

ďMoni, 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.Ē

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 sheís safe. Sheís a Reyes, and her brothers taught her well in self-defense.

Where is she?

He stands up and leaves the bedroom.

INT. LIVING ROOM Ė CONíT

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 heís still in New York. The last thing he needs is for Deputy Director Kersh to be aware that heís abandoned the ďassignmentĒ he was ďworkingĒ 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. Bradís heart skips a beat with the hopes that it is Monica calling to tell him sheís safe. Before he can say anything, the woman speaks. It is Monicaís mother, Isabella.

ISABELLA REYES
Is Monica in?

Isabella is holding back emotions. Brad hears this and checks his watch. Itís only ten till six in the morning. This canít be good.

BRAD FOLLMER
No, sheís not.

ISABELLA REYES
I am her mother, IsabellaÖ
Is this Monicaís Bradley?

BRAD FOLLMER
Yes, maíam. (beat) Is
everything all right?

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

ISABELLA REYES
Monicaís Papá... he...
Heís 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
Iíll let her know. (beat) Weíll
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. Monicaís 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 MONTGOMERYíS 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, Doggettís not certain about him.

Doggett canít help but be a little suspicious of Montgomery. He hasnít 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 hasnít. Not once has Montgomery told them where heís 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 canít help but trust Monicaís 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 hadnít she mentioned this to him? He takes a breath before speaking.

JOHN DOGGETT
If you donít mind me asking,
what happened between you two?

JOHN MONTGOMERY
Itís personal.

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

JOHN DOGGETT
(soft)
Monica?

Monica doesnít look at him, nor does she respond.

JOHN DOGGETT
You all right?

Monica shakes her head ďnoĒ. 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 canít help but feel that my life
will never be the same, John. (beat)
I thought Alex was our friend. Now
heís 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
Donít say that, Monica. Weíll
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. Sheís never doubted her Grandmama before, and this worries him.

MONICA REYES (CONíT)
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 sheíd fix things
so itís 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 Monicaís eyes.

MONICA REYES
It doesnít feel right to me.
The world feels off, John.
I donít 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 donít 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 Montgomeryís direction.

JOHN DOGGETT
Do you have a first aid kit?

JOHN MONTGOMERY
Why?

JOHN DOGGETT
She has a bad cut on her hand
that hasnít been properly treated.

JOHN MONTGOMERY
Iíll 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 Ė 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 ďwilledĒ.

ALEX KRYCEK (CONíT)
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 wouldíve proceeded if this
situation didnít 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 (CONíT)
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 Manís eyes widen.

WELL-MANICURED MAN
Thatís only two years away.

The Smoking Man walks away from the window.

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

The Well-Manicured Manís 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 doesnít 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 wonít refuse: Their
lives spared if she returns to The Project.

WELL-MANICURED MAN
Sheíll never do it.

The Well-Manicured Manís glare pierces The Smoking Man.

WELL-MANICURED MAN
She knows you will never distribute
the vaccine to the world. (beat) Sheís
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 Krycekís direction. He steps forward, into the light.

ALEX KRYCEK (CONíT)
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 Manís answer to Krycekís solution.

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

Krycek listens.

CIGARETTE-SMOKING MAN (CONíT)
John Doggett has become close to Ms. Scully.
He wouldnít understand her reasons for
leaving. Too many questions would be
left unanswered.

The Smoking Man puffs on his cigarette.

CIGARETTE-SMOKING MAN (CONíT)
A man as determined as Mr. Doggett
would want to find answers to fully
understand this situation. (beat)
Thatís 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 (CONíT)
We make them believe Ms. Scully
died in that car wreck Mr. Doggett was in.

ALEX KRYCEK
Monicaís 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 & MARITAíS 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 doesnít 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
Sheís not here.

Brad turns to face her, heís 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 wasnít at
home, I thought maybe sheíd 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 donít know.

Brad looks at her questioningly.

BRAD FOLLMER
(slightly angered)
You donít know?

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

BRAD FOLLMER
And yet you donít know
where they are?

Scully looks at him, knowing this isnít good news for him.

BRAD FOLLMER
(angry)
You send them off with someone
and you donít even know where
they are? What kind of protection
is that? How do you know you havenít
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 Monicaís life in someone
elseís hands and tell me Ďthe
less I know, the betterí?!

He glares at her. Sheís not sure what to say to him. She hasnít even figured this situation out, how could she possible let him know whatís 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 canít tell you.

BRAD FOLLMER
(angry)
Bullshit.

This isnít what he needs.

BRAD FOLLMER
(accusing)
Why didnít you go to the authorities?

He looks at Scully and waits for a moment. She doesnít 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 wonít receive.

BRAD FOLLMER
What about Alex Krycek?

DANA SCULLY
Iím going to talk to him-

BRAD FOLLMER
(disbelief)
-He hasnít been reported?
(beat) Why?

DANA SCULLY
Thereís a lot you donít know, Brad.

BRAD FOLLMER
Then why donít you clue me in.

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

DANA SCULLY
I canít-

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 wonít tell me, Iíll
ask Krycek myself. Maybe heíll
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 whatís going on and is sick of getting the ring-around with her.

DANA SCULLY
(after a beat)
I donít have answers, Brad.

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

DANA SCULLY (CONíT)
Iím just as worried as you are.
(beat) When I get answers, Iíll
let you know. (beat) Until then,
itís wise to lay low and let me
handle this situation.

Brad glares at her. Heís not happy with what sheís telling him, but thereís 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, sheís going to find out.

FADE OUT:

END ACT ONE



ACT TWO

FADE IN:

INT. MULDER & KRYCEKíS APARTMENT Ė 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 shouldíve known he didnít have a chance at beating her. Sheís a Reyes for cryiní out loud.

ALEX KRYCEK
(angry)
That bitch...

Heís 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)
Itís me. Dana.

Krycek opens the door.

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

ALEX KRYCEK
Letís 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 whatís going on
you son-of-a-bitch, or
youíll 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 doesnít 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 doesnít 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
Iím not intimidated by you, Alex.
(beat) Youíre a coward and donít
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 wonít hurt you.

DANA SCULLY
(pissed)
Never.

Krycek applies more pressure to her.

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

Scully squeezes her eyes shut. Why wonít he give her any answers?

Suddenly, the phone rings loudly, startling Scully and Krycek. She grabs at Krycekís 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, itís Mulder. Iím 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 Krycekís name on it.

FOX MULDER (CONíT)
Hopefully you did. I just thought
Iíd 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 (CONíT)
Anyway, I donít 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... Itís so un-Super Buddy of them!

FOX MULDER (CONíT)
Take Brad out to the toy store and
get him a toy to welcome him to
Super Buddies.

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

FOX MULDER (CONíT)
Thanks buddy! Iíll 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! Iíll tell you!

He waits a beat, hoping sheíll back off. She doesnít.

ALEX KRYCEK
We need you back in The Project-

DANA SCULLY
-Why?

ALEX KRYCEK
Alien colonization has been
stepped up. Youíre 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
Iíll 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. Youíre the only
one who can create a successful vaccine.

She listens.

ALEX KRYCEK (CONíT)
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 donít want to kill anyone. The
group doesnít want to kill anyone.
(beat) We need you back and we need
to wash out Doggett and Monicaís
memories of what has happened.

DANA SCULLY
Why?

ALEX KRYCEK
So itís easier for you to return
without complications. (beat) Doggett
would never want to let you go. Heíd
try to stop this and eventually that
would lead to the end of the world.
(beat) Theyíll win if you donít return.

Scully looks him over. Sheís not buying this. Alien colonization isnít until 2012. What kind of B.S. lie is he telling her?

DANA SCULLY
Youíre 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.

ďGot a call. Had to go. Went to Belgium. Mulder.Ē

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 Businessmanís 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, sheís
been working in Europe for years.
(beat) You canít imagine how happy
I am to hear sheís 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 Ďqueenieí so the
women will stay away from me
and I can remain faithful to
Diana. Even though sheís been
away for a long time, weíre still
married. (beat) Are you married?

BUSINESSMAN
(irritated)
Yes.

FOX MULDER
Isnít 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 (CONíT)
...Would you like to be in Super Buddies?

BUSINESSMAN
(irritated)
No.

FOX MULDER
(as if he didnít 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 isnít a ďprickĒ.
Heís 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, Iím 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!

Mulderís eyes go wide with fear. Heís 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 Ė 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 Ė 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 driverís seat. Heís 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 ďStrugholdĒ.

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

CIGARETTE-SMOKING MAN
We have her here.
Sheís ready for them.

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

SMASH CUT TO:

INT. JOHN MONTGOMERYíS CAR Ė DAY

Monicaís 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 canít place it, but knows sheís 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 ďnoĒ.

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

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

Monica looks down, having forgotten about her wounded hand.

MONICA REYES
Itís nothing. Iíll be fine.

JOHN DOGGETT
Itíll get infected.
(beat) Does it hurt?

MONICA REYES
I try not to think about it.

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

JOHN MONTGOMERY
(to Monica)
Youíre 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
Itís a deep cut.

He looks up at her.

JOHN MONTGOMERY (CONíT)
Youíre going to need stitches
and a good cleaning. The last
thing you want is for a wound
like this to get infected. (beat)
Iíll 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
Itíll hurt more if you donít.

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 Ė CONíT

The bathroom is unclean, but itís 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, heís not use to treating people with a lot of care. Heís the kind to do what needs to be done.

Monicaís eyes well up with tears as Montgomery ruthlessly continues. Doggett watches Montgomery carefully, and takes hold of Monicaís 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
Thatíll take care of your wound.
Donít stress your hand. (beat)
You donít want the stitches to tear.

Monica nods her head. No shit she doesnít want that, Montgomery doesnít even have painkillers. She wipes a tear away from her eye.

JOHN MONTGOMERY
We wonít be stopped long, and we
wonít be stopping again until we
need more gas. (beat) Do what you
need to do while weíre here.

He pulls his billfold out and gives Doggett some cash.

JOHN MONTGOMERY
Buy some food, water, whatever you
need. (beat) I donít want to be
stopped for too long.

Doggett nods his head as Montgomery leaves the bathroom.

EXT. GAS STATION Ė CONíT

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 youíll want to know about.

Montgomery stops in his tracks upon hearing the Smoking Manís voice. He knew helping with this situation was risky. He waits a beat before replying, hoping the Smoking Man doesnít know heís helping Dana.

JOHN MONTGOMERY
Iím listening.

CIGARETTE-SMOKING MAN
The alien colonization timetable has
been reduced by six years. (beat)
Weíre 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 youíve been
helping Ms. Scully, and that you
have her friends; Mr. Doggett
and Ms. Reyes.

Blood drains from Montgomeryís face. The Smoking Man waits a moment, allowing what heís just told him to sink in.

CIGARETTE-SMOKING MAN
Theyíve seen too much.

Montgomery listens.

CIGARETTE-SMOKING MAN
Weíll need them at our facility
in New York to erase their memories
of everything that has happened. (beat)
Weíll 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)
Iím a long ways away from New York.

CIGARETTE-SMOKING MAN
Thatís not a problem. (beat) You
may proceed to your destination.
We donít need Mr. Doggett causing
any difficulties. (beat) Iíve
already contacted my man inside
the FBI. Heís awaiting his orders.

Montgomery looks down. This situation just got worse.

JOHN MONTGOMERY
Iíll let you know when Iím there.

He can almost feel the Smoking Manís 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 doesnít care, all she wants is to be safe at home with Brad.

Doggett watches her. She hasnít said much at all, and given the situation, thatís not a good thing.

JOHN DOGGETT
(trying to get her to talk)
Theyíve 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. Theyíve been engaged for almost a year and he didnít even notice! Why didnít 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 didnít
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
Thereís more... Iím almost
five weeks pregnant.

Doggettís eyes widen as she lets out her final sha-bang. He definitely wasnít expecting that.

MONICA REYES
So you see, thereís more than
just my life at stake here.
If this doesnít 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 sheís still tormented by her bad feelings and haunting visions. She holds onto Doggett as if heís all she has left right now.

JOHN DOGGETT
(soft)
I promise.

CUT TO:

INT. WALTER SKINNERíS OFFICE Ė J. EDGAR HOOVER BUILDING Ė 11:04 A.M.

Skinner is pacing his office, holding a Rubricís Cube in his hands. Heís 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. Sheís obviously here for a reason.

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

She looks at him sternly, letting him know thatís not why sheís really there.

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

Skinner looks into her intense eyes.

WALTER SKINNER
Itís about time for my lunch
break. How about we discuss
this over lunch?

DANA SCULLY
Iíd love to.

Skinner escorts Scully out of his office.

INT. HALLWAY Ė CONíT

Skinner and Scully make their way to the elevator.

WALTER SKINNER
(quite)
Whatís going on?

DANA SCULLY
Not here, you never
know whoís listening.

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

CUT TO:

EXT. PARK Ė 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 donít know if youíve heard,
but John was in a car wreck
last night.

Skinnerís eyes go wide. Why hasnít 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 ďnoĒ.

WALTER SKINNER
This is all news to me. (beat) I
donít 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 donít know anything about
that. (beat) They havenít
contacted me forever.

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

DANA SCULLY
Maybe they havenít contacted
you because they have a new
man on the inside.

Scully looks up into Skinnerís eyes. Skinner ponders this. Itís not impossible.

WALTER SKINNER
I can dig around and see if
anything suspicious has been
going on. I donít know how much
Iíll be able to access. Probably
just the agents under me.

DANA SCULLY
Itís not impossible, right? For
them to have someone new? (beat)
Someone we wouldnít even suspect.

Off of Scully and Skinnerís thoughtful looks...

CUT TO:

INT. BRUSSELS AIRPORT Ė 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. Sheís been waiting for along time, and hopes Mulder hasnít 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. Heís 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
Iíve missed you.

DIANA FOWLEY
Iíve missed you too, Fox.

She looks into his eyes and smiles.

DIANA FOWLEY
Iíve 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
Youíre red/green colorblind.

FOX MULDER
I know.

He smiles at her.

DIANA FOWLEY
Letís 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
-Letís 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 Iíve been living
before we go back to D.C.

She smiles at him.

FOX MULDER
Iím sorry. I just get so excited.
(beat) Iíd love to see where
youíve been living.

Diana smiles.

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

DIANA FOWLEY
Okay. Itís right behind you.

Mulder nods and runs off to do his business. Once heís 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.
Iíll be waiting for your call. Heís
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 Ė 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 Montgomeryís 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 donít
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)
Itís nothing.

Doggett doesnít believe her.

JOHN DOGGETT
ďNothingísĒ got you worried?

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

INT. CABIN Ė CONíT

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
Youíll be safe here.

He turns to address them.

JOHN MONTGOMERY (CONíT)
When everything gets taken care
of in D.C., youíll 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, youíll need to
change the bandages on your
hand. Thereís a first aid kit
in the bathroom, under the sink.

MONICA REYES
Okay, thanks.

JOHN MONTGOMERY
John, if youíre arm starts hurting,
I donít 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 Iím pretty good
with in-the-field-injuries.

Montgomery nods his head and goes to the door.

JOHN MONTGOMERY
(assuring)
It wonít be long now.

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

MONICA REYES
I feel defenseless here. I
donít trust this situation.

JOHN DOGGETT
Donít worry, Monica. Everything
will be all right. Donít 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 heíd believe her if she told him her visions. She doubts it, heís John Doggett: Mr. ďI Donít Believe In Any ĎMumbo-JumboíĒ.

CUT TO:

INT. ROBERT ALFREDOíS OFFICE Ė J. EDGAR HOOVER BUILDING Ė 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 heís 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. Whatís the Assistant Director still doing here?

ROBERT ALFREDO
Whatís 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 youíre an
undercover agent, so youíre 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 Kershís office.

ROBERT ALFREDO
(not sure about this)
Why?

WALTER SKINNER
Because, I think heís involved with
some high up conspiracy that put
Doggett in the hospital. Iíll be vague
about this so you donít 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 (CONíT)
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
heís the inside man, and whether or not anyone
else is on the inside.

Alfredo registers this. He nods his head.

ROBERT ALFREDO
Yeah, Iíll help you out.

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

INT. HALLWAY Ė CONíT

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 itís Kersh?

WALTER SKINNER
Just a hunch.

ROBERT ALFREDO
If these people are high up, wouldnít
they go to the Director instead?

Skinner looks at him. Hey, good idea.

WALTER SKINNER
What are you saying? Sneak
into the Directorís 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. Itís a little early in the evening to be snooping around the Directorís office, but Alfredo has a point. If these people are high up, they probably wouldnít go to the Deputy Director. Theyíd want to get the head of the Bureau.

WALTER SKINNER
Are you sure no oneís 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 heís involved in this? Skinner looks at him. Thereís 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. Heís not happy to see that Alfredo has been sucked into their chess game.

WALTER SKINNER
(to Alfredo)
So youíre their new man.

Alfredo doesnít answer him. He doesnít have to. Skinner knows. Skinner looks to the Director. Itís no shock that sheís involved. More power for her. Like she needs it. Skinner lets out a heavy sigh. Heís 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
Iím only going to warn you once, Mr. Skinner.

She looks him in the eyes with all seriousness.

DIRECTOR (CONíT)
Donít investigate any further.

There is a long silence. Skinner glares at her.

WALTER SKINNER
Do you even know what youíve
gotten yourself into?

The Director smiles at him.

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

Of course Skinner wants to warn her, but he knows he canít. He glares at the Director. He knows the consequences if he informs Scully.

DIRECTOR
Hereís what youíre going to do,
Mr. Skinner. Youíre 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 canít do that.-

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

A smug grin crosses her face as Skinner realizes heís in deep. Thereís nothing he can do. He canít spend the rest of his life in prison. Heíll have to lie to Scully. He glares at the Director.

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

ROBERT ALFREDO
Yes, maíam.

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

CUT TO:

INT. THE PENTAGON - DEPARTMENT OF DEFENSE Ė WASHINGTON, D.C. Ė 6:10 P.M.

Brad Follmer walks down the hallway of the D.O.D., checking out nameplates on doors. He stops when he finds ďKnowle J. RohrerĒ.

Brad doesnít know who else he can turn to for help. Scully had no answers and telling him to lay low is an impossibility. He has to do something. Knowle Rohrer is the only person he can think of who could help him find out whatís going on.

Brad and Knowle had been acquaintances in high school, and to some extent their connection to John Doggett created a loyalty of friendship between them.

Brad knocks on the door, hoping Knowle doesnít mind him seeking his help with John and Monica.

KNOWLE ROHRER (O.S.)
Itís open, come in.

Brad opens the door.

INT. KNOWLE ROHRERíS OFFICE - CONíT

Knowle Rohrer sits at his desk reading a document. He doesnít even look up to see Brad enter his office.

BRAD FOLLMER
Knowle?

Knowle looks up from his desk with a surprised expression. He smiles as he gets up from his desk and makes his way over to Brad.

KNOWLE ROHRER
(friendly)
Iíll be damned, Brad Follmer.

They shake hands.

KNOWLE ROHRER
(friendly)
What the hell brings you here?

BRAD FOLLMER
(serious)
I need your help.

KNOWLE ROHRER
Whatís goiní on? Is
everything all right?

BRAD FOLLMER
Not really. (beat) I was up in
New York working on a case; a
case I have no doubt was a fake.

Knowle raises a suspicious eyebrow.

BRAD FOLLMER (CONíT)
I received a message from Monica,
saying that a man, Alex Krycek, is
trying to kill her and John-

KNOWLE ROHRER
-John Doggett?

You donít mess with a Marine.

KNOWLE ROHRER
What kind of trouble are they in?
Whyís this guy trying to kill them?

BRAD FOLLMER
I donít know, and I have no idea
where they are now. No oneís giving
me any answers. (beat) Youíre the
only person I can think of who can
help me. I canít go to the Bureau with this.

KNOWLE ROHRER
You think the FBIís involved?

BRAD FOLLMER
Yes. (beat) Alex Krycek is a federal
agent. He works in the same division
as Monica and John.

KNOWLE ROHRER
I have access to files. We
can dig around and see if
anything comes up on this guy.

Knowle makes his way over to his desk. Brad follows.

BRAD FOLLMER
Also...

KNOWLE ROHRER
Thereís more?

BRAD FOLLMER (CONíT)
Earlier today, I went to a friend
who I thought would have answers.
(beat) She knew things, but refused
to tell me. She said the less I know
the better. (beat) She did tell me that
she handed Monica and John off to some
guy for their protection. However, she
doesnít know where this guy took them.

KNOWLE ROHRER
You think sheís involved?

BRAD FOLLMER
I donít know. She could be. (beat)
She was very vague with me.

Knowle nods his head and sits at his desk.

BRAD FOLLMER
I donít want to believe sheís
involved with any of this. (beat)
Sheís a good friend to Monica
and John. (beat) But who knows.

KNOWLE ROHRER
Whatís her name?

BRAD FOLLMER
Dana Scully. Sheís also a
federal agent who works
with Monica and John.

Knowle types in Scullyís name and a file is pulled up onto the computer monitor.

BRAD FOLLMER
So what files do you have access to?

KNOWLE ROHRER
Personal files of every
agent employed by the
federal government.

Brad looks at him suspiciously.

BRAD FOLLMER
You work for the D.O.D., how
in the world do you have access
to files like these?

KNOWLE ROHRER
Donít ask.

Knowle smiles, which only makes us wonder how he got access.

KNOWLE ROHRER
(re: Scullyís file)
Whoa. Sheís been a stripper?

Knowle turns to look at Brad.

KNOWLE ROHRER (CONíT)
(disbelief)
Sheís employed by the Bureau and
is an ex-stripper? (beat) Something
needs to be done about the FBI... that
Director needs to be re-evaluated. (beat)
You should be in OPR, youíd be great at
cleaning up that place.

BRAD FOLLMER
Thatís nothing. Just wait until
you look at Krycekís file.

Knowle turns back to his computer monitor and reads some more, and something catches his eye.

KNOWLE ROHRER
Do you know anything about her
being a scientist/medical doctor
for something called The Project?

BRAD FOLLMER
No. Iíve never heard of The Project.
Do you have ways of knowing what it is?

Knowle types something into his computer and a page loads. Details of her job with The Project are pulled up onto the screen, along with the main research lab, Strughold Research Facility which is located in New York state.

KNOWLE ROHRER
The Project looks like it deals
with research and testing.

BRAD FOLLMER
Testing what, and who's Strughold?

KNOWLE ROHRER
Doesnít say.

BRAD FOLLMER
What about Alex Krycek, can
you dig up anything on him?

Knowle enters ďAlex KrycekĒ into the program and a file opens up, detailing everything Krycek has done since being employed within the government and his roll as assassin for The Group, and how he got it after killing a rat at Burger Boy.

KNOWLE ROHRER
Whoa.

Knowle canít believe this guyís record, neither can Brad. Brad always knew he had a bad feeling about Krycek, but damn! Knowle continues to scroll down Krycekís file and ďThe ProjectĒ catches his attention.

KNOWLE ROHRER
This guyís involved with this
Project thing, Brad. (beat)
Thatís not good is it?

Knowle looks at Brad. Brad canít believe what heís seeing. This ďProjectĒ thing is the key, and the fact that Scully and Krycek are involved with it worries him. Maybe Scully is involved. If thatís true, not only is he screwed over, so are John and Monica. Off of Bradís worried look...

CUT TO:

INT. SCULLY & MARITAíS APARTMENT Ė 10:08 P.M.

Scully is in a hurry as she puts on her coat and grabs her keys. She makes her way to the door, just as thereís a knock. She checks out the peephole and opens her door. Skinner stands in the hallway.

DANA SCULLY
Walter. Come in.

She looks at him with hope that heís found something out. Skinner enters the apartment.

WALTER SKINNER
Is Marita here?

DANA SCULLY
No, Iím not sure where she is.
(beat) Did you find anything?

WALTER SKINNER
(sounding rehearsed)
I found nothing. No oneís
on the inside besides Krycek.

Scully looks him over, not sure if she believes him.

DANA SCULLY
So what do we do now?

WALTER SKINNER
Deal with Krycek. Thatís
all there is. Find out why
heís trying to kill his
fellow agents. (beat) Have
you spoken to him yet?

DANA SCULLY
Just the one time.

Scully looks Skinner in the eyes.

DANA SCULLY
Sir, I donít think this is
some petty matter. He put
John in a coma. He attacked
Monica with a knife.

She looks at him seriously.

DANA SCULLY
This is serious.

WALTER SKINNER
I canít help you anymore.

He heads towards the door.

DANA SCULLY
They got to you didnít they?

Skinner stops cold in his tracks.

DANA SCULLY (CONíT)
Who ever is on the inside...
They got to you.

Skinner hesitates a moment, debating whether or not to say anything. He opens the apartment door and exits her apartment. Scully lets out a sigh. Someone definitely got to Skinner. If he canít tell her, sheíll have to go to someone else who can.

CUT TO:

INT. OFFICE OF ďTHE LONE GUNMENTĒ Ė 10:40 P.M.

The buzzer to their door is buzzing loudly. Frohike makes his way to the door and checks the security monitor. Scully stands alone outside. Frohike unlatches all of the locks and opens the door.

FROHIKE
What a pleasant surprise.

He steps aside and Scully walks in.

FROHIKE
What brings you here?

DANA SCULLY
Iíve been going in circles trying
to get to the bottom of the truth.
Iím not even sure you will be able
to help me.

Byers and Langly join the conversation.

LANGLY
Whatís the hack?

DANA SCULLY
I need you guys to get into
a highly secure secret government
database. (beat) I need to confirm
things Iíve been told.

BYERS
Sounds dangerous.

FROHIKE
Itís nothing I canít handle.

They head over to the computers.

FROHIKE
Whatís the database.

DANA SCULLY
Strughold. Specifically: The Project.
I need to know when the date for
alien colonization is.

Frohike, Langly and Byers slowly look at her. Frohike cautiously continues his hack.

DANA SCULLY
Also, if you can, could you
do a search on John Montgomery?

LANGLY
Jonathan Timothy Montgomery?

Scully looks at Langly, surprised he knows his full name.

DANA SCULLY
Youíve heard of him?

LANGLY
Yeah, who hasnít? (beat)
Conspiracy theorist say
heís working on a vaccine
to save the world.

BYERS
Some say heís our next savior.

LANGLY
Itís been said that he may have
aided in the capture of Saddam Hussein.

Scully canít believe they know him.

BYERS
Even after the horrors he went
through in ĎNam, he still helped
as a medical doctor in the Middle East.

LANGLY
Yeah, and in the Ď80s, he was
working to find a cure for cancer.

BYERS
Heís a world peace kind of
guy. A real negotiator and leader.

DANA SCULLY
How do you know all this?

FROHIKE
Iím in.

They all turn their attention back to Frohike.

FROHIKE
I havenít been able to get into
anything about The Project, but
I found the date you were looking for.

Scully looks at the computer monitor. The date has not changed and still says colonization will happen in 2012.

DANA SCULLY
What about John Montgomery?

Frohike types away, pulling up a file.

FROHIKE
It says heís the head scientist
for The Project at the New York Facility.

Scully nods her head, not sure about the real intent of her returning to The Project. Colonization hasnít been stepped up... and now, John Montgomery is working in The Project, creating the vaccine for the Cigarette-Smoking Man. Scully sits down, doubt filling her up inside. Maybe she never shouldíve called Montgomery for help. What if heís working against her? Trying to get her back involved in The Project. Back to the life she didnít ever want.

CUT TO:

INT. CABIN Ė 11:12 P.M.

Doggett and Monica are sitting on the couch. Monica has wrapped herself in a warm blanket. They are both laughing, and itís a definite mood change from before. Good thing John Doggett knows how to lighten up the mood.

JOHN DOGGETT
(trying not to laugh)
And you know what he did next?

MONICA REYES
(laughing)
What?

JOHN DOGGETT
He stands up...

Doggett stands, imitating who ever heís talking about.

JOHN DOGGETT (CONíT)
...goes over to the bar and
says to the bartender: ďGood
man, Iíd like me another round
of your finest beer.

Monica smiles.

MONICA REYES
Like heís not drunk already.

She laughs.

JOHN DOGGETT
Exactly. (beat) So the bartender
gives him another round.

MONICA REYES
Oh no.

JOHN DOGGETT
And Knowle, heís acting all big
and tough as he goes over to this
table. And no one knows how much
heís able to hold, so theyíre all
lookiní at him like heís crazy Ė which
he is. (beat) So he takes this mug,
and itís no regular mug. Iím sayiní
this thing is larger than one of
those German beer mugs.

Monica winces at the thought.

JOHN DOGGETT (CONíT)
So he takes this big mug of beer,
and just downs it. Itís all pouriní
down the front of him. He finishes
the entire mug in less than ten seconds.

Doggett sits back down on the couch.

JOHN DOGGETT
And that is how Knowle Rohrer
became the fastest beer
drinker on the east coast.

Monica shakes her head.

MONICA REYES
(doubting)
Nuh-uh. No way.

JOHN DOGGETT
Iím serious.

MONICA REYES
Thereís no way Knowle couldíve
done that without passing out.
Itís impossible. Even if he is ďThe RoarĒ.

JOHN DOGGETT
(sticking to his story)
I timed him myself.

Doggett smiles at her.

MONICA REYES
I havenít seen him in years.

JOHN DOGGETT
Yeah, not since you shot me
in the ass a few years ago
at Thanksgiving.

Monica smiles at him.

MONICA REYES
That was an accident.

JOHN DOGGETT
Sure it was.

He smiles at her. They both fall silent and the only sound heard, is the cracking of the fire.

Monica looks into the fire as a bad feeling haunts her again. Her eyes are drawn into the fire, as if trying to warn her of something.

Doggett yawns.

JOHN DOGGETT
(finishing his yawn)
Oh man... Iím tired. (beat) What time is it?

Doggett looks over at Monica. Her breathing has become rapid. Given her condition, this concerns Doggett greatly.

JOHN DOGGETT
Monica?

She doesnít answer him. She continues to intensely stare into the fire.

JOHN DOGGETT
Monica.

He reaches out and touches Monicaís shoulder, startling her. She snaps out of it and looks at him with fear in her eyes.

JOHN DOGGETT
What? What is it? Are you okay?

MONICA REYES
(scared)
We need to leave this place.

JOHN DOGGETT
(confused)
What?

MONICA REYES
I know youíre going to think
this is B.S., but before we
came here, I had a vision of
a cabin exploding. This cabin, John.

JOHN DOGGETT
(doubting)
Monica...

MONICA REYES
Iím serious, John. Iíve had a bad
feeling about this place since we
got here. My gut instinct is telling
me to leave this place now.

She looks deep into his eyes. Her fear is enough to scar him. Monica isnít going to wait for him and she gets up and goes to the door. Doggett quickly follows.

JOHN DOGGETT
Monica, wait.

Monica is out the door.

EXT. CABIN Ė CONíT

Snow is falling gently to the ground. Itís a little too quiet and the only sound heard is the crunching of snow beneath Monicaís feet.

Doggett exits the cabin.

JOHN DOGGETT
Monica, wait!

Monica turns to face him.

JOHN DOGGETT
Where will we even go?

Fear strikes Monica, as a flash of her vision stabs her mind. She grabs her head in pain and forces herself to fight through it. She looks up at John.

MONICA REYES
Get away, John!

She shuts her eyes in pain, squeezing her eyes shut, trying to block it out. Doggett rushes up to her with concern.

JOHN DOGGETT
Monica?

She doesnít respond to him.

MONICA REYES
(looking up at him/whisper)
Iíve seen this...

JOHN DOGGETT
The cabin isnít going-

Heís cut off by the sudden EXPLOSION of the cabin! The force of the blow knocks them to the ground. Doggettís eyes widen as he quickly hits the deck, taking Monica down with him. He does his best to cover her to protect her from the falling debris. He looks back at the cabin in disbelief. Off his look we...

FADE OUT:

END ACT THREE



ACT FOUR

FADE IN:

EXT. CABIN

Whatís left of the cabin is on fire. Debris surrounds Doggett and Monica, who are still on the cold ground in the snow. Doggett looks at the cabin in complete disbelief.

JOHN DOGGETT
How the hell did you...

He looks at Monica, who is holding her head as the vision leaves her.

JOHN DOGGETT
You okay?

MONICA REYES
Yeah. You?

JOHN DOGGETT
Yeah. (beat) How the hell did
you know that was going to happen?

He looks at her in all seriousness.

MONICA REYES
(dead serious)
I had a vision.

Doggett canít deny what sheís saying. She did say the cabin was going to explode, and here they are in front of a blown up cabin.

JOHN DOGGETT
We should get out of here. I
donít want to be around for when
whoever set off that bomb comes to
make sure he succeeded.

Monica nods her head and gets up out of the snow. She helps John to his feet.

MONICA REYES
Howís your arm?

JOHN DOGGETT
Iíll live. (beat) You sure
youíre all right?

MONICA REYES
Yeah. Iím fine.

Doggett picks up the blanket that was around Monica. They head out into the freezing unknown ahead of them.

JOHN DOGGETT
Iím starting to doubt we shouldíve
ever trusted that Montgomery.

MONICA REYES
Me too. (beat) I hope Dana will
be careful around him. We donít
want her getting hurt.

Doggett nods in agreement. The thought of Dana getting hurt isnít something heíd like to think about. He puts the blanket around Monica to keep her warm.

MONICA REYES
What are we going to do?

JOHN DOGGETT
Get back to D.C. and warn Dana.
Or find a phone and call her.
Let he know whatís happened.

Monica nods in agreement.

MONICA REYES
What about Alex? He tried to kill us.

JOHN DOGGETT
(determined)
Find out why, and turn him in.

MONICA REYES
Do you know how long it took to
get where we are? And that was
by car. What if we get back and
itís too late? Weíre on foot in
the freezing cold, and itís snowing.

JOHN DOGGETT
(determined)
Weíll get there. Weíll make it
Weíre a Doggett and a Reyes. (beat)
Weíll get there. Donít worry.

MONICA REYES
I hope youíre right.

They continue on their way. John is walking very fast and determined, making it hard for Monica to keep up.

CUT TO:

INT. SCULLY & MARITAíS APARTMENT Ė 11:19 P.M.

Scully sits on her couch. Everything that has happened has put her at a loss as to what she should do. Sheís not even sure she can trust John Montgomery anymore. Sheís pretty damn sure Skinner has been told not to tell her anything, and that his life has been threatened. She hasnít been able to find Krycek since her first encounter. She wonders how much of what he told her is true.

Has alien colonization been stepped up? Is it absolutely necessary for her to return to The Project? But why try to kill John and Monica? This is the one thing she canít understand. Unless that smoking son-of-a-bitch had other plans and they backfired. Whatever it is, she doesnít know.

What she does know, is that sheís needed back in The Project.

Years ago, she and John Montgomery discovered a vaccine against the virus the aliens will use when they colonize the planet. This vaccine is the only weapon the human race has against them. If the world wants a fighting chance, itís on the shoulders of her and Montgomery. Neither she nor he knows the full vaccine. They did this as a way to protect their knowledge from the Cigarette-Smoking Man. He only wants the vaccine for himself and no one else.

A knock at the door interrupts her thoughts. She gets up from the couch and goes over to the door. She looks out the peephole and opens the door to find John Montgomery standing before her.

JOHN MONTGOMERY
We need to talk Dana.

Scully lets him in and shuts the door behind him.

DANA SCULLY
What the hell is going on?

JOHN MONTGOMERY
We received word this morning that
the timetable for colonization has
been stepped up. Weíre now looking
at a date two years from now.

Scully isnít sure if she can trust him.

DANA SCULLY
Why should I trust you?

JOHN MONTGOMERY
Because youíve got no one else to trust.

He looks her in the eyes, meaning every word he says. Scully looks away from him, not wanting this to be true.

DANA SCULLY
Why is The Group wanting John
Doggett and Monica Reyes killed?

JOHN MONTGOMERY
Iím not sure on their initial plans,
but now they need them so they
can erase their memory of what has happened.

Scully sits down on her couch. Montgomery prefers to stand, heís here for official business.

JOHN MONTGOMERY
Dana, The Project needs you back.

She doesnít look at him. She doesnít want this to be true.

JOHN MONTGOMERY
Weíre the only two who can create
the vaccine to save the world.

He looks at her, waiting for a response.

DANA SCULLY
(after a beat)
Youíre not lying to me?

JOHN MONTGOMERY
No. (beat) Believe me Dana, I
wish you didnít have to return.
We have no other option.

Scully shuts her eyes, knowing heís right, knowing sheíll have to return to a life she wanted to forget.

DANA SCULLY
How long?

JOHN MONTGOMERY
Itís not certain. (beat) It could
be until colonization.

Scully takes this in.

DANA SCULLY
What will happen to John and Monica?

JOHN MONTGOMERY
Theyíll be given new memories. (beat)
New memories of you; that you died.

Scully looks up, not expecting that.

DANA SCULLY
Why do they want them to think Iím dead?

JOHN MONTGOMERY
John would ask too many questions
if he knew you had to stay to develop
a vaccine against a virus. (beat) The
Project canít risk him getting in
the way. (beat) The world canít risk it.

Scully looks down, seeing the logic. John Doggett isnít one to just let something like this slide. Heíd want to know the full extent of whatís going on. Heíll never be able to know. This way is easier for everyone.

Scully nods her head as a tear falls from her eye. She doesnít want to do this, but itís either re-join The Project or be responsible for the end of the human race.

DANA SCULLY
(after a long beat)
Where do we go?

Off Montgomeryís look...

CUT TO:

EXT. FOREST

John is walking fast ahead of Monica. Heís very determined to get to a phone so he can call Scully and warn her not to trust Montgomery. Monica struggles behind him.

MONICA REYES
John, can you slow down a bit.
I canít keep up with you.

Doggett stops walking and turns around.

JOHN DOGGETT
Sorry. I just get...

MONICA REYES
I know: determined.

She finally catches up to him.

MONICA REYES
John, Iím freezing. I canít feel my feet.

John adjusts the blanket around Monica, trying to keep her warmer.

JOHN DOGGETT
It wonít be too long. I think I
see lights from a town not too
far from here. (beat) Weíll make it.

MONICA REYES
Easy for you to say. I was
mainly raised in Mexico. I
hate the cold.

JOHN DOGGETT
McAllen isnít that far from Mexico,
Moní. And besides, you lived in New
York for a long time, and it gets cold there.

MONICA REYES
Yeah, but I went down south to New Orleans.

Doggett puts his arm around her, trying to keep the both of them warm. They continue walking.

MONICA REYES
Are we going to die?

JOHN DOGGETT
No.

MONICA REYES
How do you know? Weíre in the
middle of a dark forest, and
itís snowing. Itís got to be
below freezing, John. Weíre
going to die.

JOHN DOGGETT
No weíre not. And do you know why?

Monica shakes her head ďnoĒ.

JOHN DOGGETT
Because Marines donít
have permission to die.

MONICA REYES
Iím not a Marine, John.

JOHN DOGGETT
Yeah, but you went through
backyard boot camp when we
were kids. That counts.

MONICA REYES
(slightly humored)
Does not.

She smiles, remembering the good olí days of being kids and playing boot camp with John and Knowle.

JOHN DOGGETT
Of course it counts, Moní.

Monica looks further ahead of them, and notices bright headlights on a road.

MONICA REYES
John, look!

She points to the headlights.

JOHN DOGGETT
See, I told you.

He smiles at her as they make their way to the road, hoping to meet the arriving car.

A few minutes later, they reach the road, just as the car drives up to them. The car stops and the front window rolls down.

ROBERT ALFREDO
John, Monica. Dana sent me to get you.

John lets out a sigh of relief.

JOHN DOGGETT
Man, is it good to see you.

Alfredo puts his car into park and gets out.

ROBERT ALFREDO
Do you guys need any help?

JOHN DOGGETT
Yeah, weíre freezing. Your
car got a heater?

ROBERT ALFREDO
Of course it does.

He smiles at them and opens the backseat of the car. John gets in first and seats himself behind the front passenger seat. Alfredo turns to Monica.

Monica looks at him, remembering the vision. Sheís not sure what it means, but she gets a bad feeling from it.

ROBERT ALFREDO
Monica, you coming?

She nods her head and gets into the backseat, sitting behind Alfredo. She watches him carefully, unsure of what her vision means.

TIME CUT TO:

NEW YORK STATE
MARCH 17, 2004

INT. STRUGHOLD RESEARCH FACILITY Ė SMOKING MANíS OFFICE Ė 2:15 A.M.

The Cigarette-Smoking Man sits at a desk as Scully and Montgomery enter his office. He sits behind an oak desk. No photos are on the white walls. He smiles at them as they enter. He puts his cigarette out in a clear ashtray.

Scully and Montgomery sit down in front of his desk.

CIGARETTE-SMOKING MAN
Itís good to see you, Ms. Scully.

The Cigarette-Smoking Man smiles at her, happy that sheís back with The Project.

DANA SCULLY
Iím just here to do my job. (beat)
But first Iíd like to know why you
saw fit to try to kill innocent people?

CIGARETTE-SMOKING MAN
That was all on Alex Krycek. He
tends to do things on his own. I
had nothing to do with that.

Scully doesnít believe him, but knows she wonít get an honest answer from him.

DANA SCULLY
Have my friends arrived yet?

CIGARETTE-SMOKING MAN
Theyíre on their way now.

DANA SCULLY
When will their memories be changed?

CIGARETTE-SMOKING MAN
Iíve decided to enter them as
test subjects instead. Their
already assumed missing since they
disappeared from the hospital in D.C.

Scully glares at him with hatred.

DANA SCULLY
(mad)
I only returned to The Project because
I was told my friends would be returned
to their lives safely and unharmed.

Scully glares him down.

DANA SCULLY
If not, Iím leaving and thereís
not a damn thing you can do about it.

The Cigarette-Smoking Man knows sheís right. He shifts in his chair, trying to keep his authority over her.

DANA SCULLY
Iíll inject them myself.

She glares at him. Itís her way, or the highway. The Cigarette-Smoking Man nods his head.

CIGARETTE-SMOKING MAN
Then we have a deal. (beat) You
and Dr. Montgomery create the
vaccine and your friends go on
with their lives.

DANA SCULLY
Yes.

The Cigarette-Smoking Manís phone rings. He answers.

CIGARETTE-SMOKING MAN
Yes? (beat) Thank you.

He hangs up his phone and looks to Scully.

CIGARETTE-SMOKING MAN
Youíre friends have arrived.

TIME CUT TO:

INT. STRUGHOLD RESEARCH FACILITY Ė EXAM ROOM Ė 5:04 A.M.

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.

JOHN DOGGETT
Dana, whatís going on?

DANA SCULLY
Youíre going home.

She doesnít want to be vague, but she knows that if she tells him sheís going to erase his memory of her, heíll put up a fight. A fight that could get him killed. She goes over to him.

JOHN DOGGETT
What is that?

Heís not worried for himself, heís more worried for her. He doesnít understand why sheís being vague with him. Why she wonít tell him whatís really going on. What this place is, and why sheís here wearing medical scrubs.

DANA SCULLY
This is just something to
help with the pain in your
arm, okay?

She smiles weakly at him, hating that she has to lie to him. Hating that she has to do this to him. She injects the syringe into the temple of his head. She takes hold of his hand as he winces in pain.

DANA SCULLY
(whispering for him)
I love you, John.

Tears come to her eyes as she removes the syringe. Johnís eyes flutter and his expression turns blank. Montgomery signals to other doctors to take him. He tells the other doctors what memory to give him as they take him to another room.

Scully takes a deep breath to compose herself.

Montgomery goes over to an intercom and presses a button. He speaks into it.

JOHN MONTGOMERY
Send in Ms. Reyes.

Montgomery turns his attention back to Scully. He doesnít even know the extent of her feelings for John Doggett. He can hardly imagine how hard this must be for her. How hard all of this is for her. Sheís giving up her life so she can help save the world, even though she fully understands that there is a risk that the Cigarette-Smoking Man might take the vaccine for himself and not give them the means to distribute it world wide.

The door to the exam room opens and a guard brings Monica in. She doesnít look happy. She shouldíve trusted her instincts when she saw Robert Alfredo. Everything had happened the way she saw it in her vision. Only this time everything was clear and actually happening.

Monica looks to Scully.

MONICA REYES
(shocked)
Dana? Whatís going on? Whereís John?

Scully prepares another syringe so she can erase Monicaís memory.

DANA SCULLY
You and John are going to go
home, okay? But before you go,
I need to erase your memory of this place.

Monicaís eyes go wide.

MONICA REYES
What?!

DANA SCULLY
I need you to get on the table please.

MONICA REYES
Thereís no way in hell youíre
going to inject me with that.
(beat) Let me go!

She tries to get away from the guard that holds her, but heís stronger than her. Montgomery helps the guard get Monica over to the exam table. Scully comes over to her.

DANA SCULLY
Iím sorry, Monica.

MONICA REYES
Dana, donít-

Scully injects Monica with the syringe. Tears come to both Monica and Scully.

MONICA REYES
(scared)
Dana, just let me go.

Montgomery looks up at Scully. Why isnít it working?

JOHN MONTGOMERY
Did you inject her with the proper dosage?

DANA SCULLY
(confused)
Yes.

Montgomery goes over to get another syringe. He goes over to Monica.

MONICA REYES
(pleading)
Dana, donít let him do this.

DANA SCULLY
(stern)
John, donít overdose her.

Scully watches as Montgomery injects Monica wish a second dosage. Monica winces in pain as tears fall from her eyes. Montgomery watches Monica, waiting to see the results.

MONICA REYES
(crying)
Let me go.

Monica looks over to Scully.

MONICA REYES
Dana, why are you doing this to me?

Scully doesnít know what to think of this. The injection worked instantly with John. Why isnít it working with Monica? She looks to Montgomery for an answer. He takes her aside.

JOHN MONTGOMERY
Is she a psychic?

DANA SCULLY
(confused)
No. Sheís just Monica.

JOHN MONTGOMERY
Sheís rejecting the serum. Her
brain doesnít accept the serum. Thereís
no way to get her memory erased.

DANA SCULLY
(frightened)
What does that mean?

Montgomery looks her in the eyes with all seriousness.

JOHN MONTGOMERY
It means she canít leave this place.

Scullyís eyes go wide.

DANA SCULLY
(disbelief)
What?

JOHN MONTGOMERY
Thereís no way to silence her
about this place unless we kill her.

DANA SCULLY
(determined)
No.

JOHN MONTGOMERY
Itís either we kill her or
we enter her into The Project.

DANA SCULLY
(pissed)
Sheís not a test subject, John.
She has a life. She has someone
to go back to. We canít enter
her to be one of your lab rats.

She glares at him.

JOHN MONTGOMERY
This isnít my call, Dana. I may
be the head scientist around here,
but all the shots are called by Charles.

DANA SCULLY
(pissed)
That black lunged son-of-a-bitch
canít hold her here. Itís not right.

JOHN MONTGOMERY
There are only two choices here, Dana.

Scully looks down. Either choice is fatal. She doesnít want Monica to be killed because her mind has rejected the serum. Maybe if she can find a way to get her out without anyone knowing. But for that to happen, Monica would have to become a test subject... that could destroy her indefinitely.

Unless...

DANA SCULLY
(looking up at Montgomery)
Weíll enter her into The Project,
under the condition that she
is my test subject. No one elseís.

Montgomery nods his head. Scully looks over at the exam table where Monica is. Scullyís heart sinks at the fact that she has to do this to her. Hopefully sheíll find someway to get her out of here soon.

JOHN MONTGOMERY
Iíll let him know.

Scully nods her head and Montgomery leaves to go tell the Cigarette-Smoking Man that a new test subject has been entered into The Project. Scully looks back at Monica. How in the world is she going to tell Monica this? Thereís absolutely no way for her to go home now. They are both trapped here at this facility without a way out. Without a way to contact those they love on the outside.

Worst of all, thereís no way for the outside to get in.

Off of Scullyís numb expression...

FADE OUT:

FADE IN:

INT. ST. VINCENTíS HOSPITAL Ė 9:23 A.M. Ė MARCH 17TH

Brad Follmer enters the hospital and goes to the nurseís desk. The nurse behind the desk smiles at him.

NURSE
May I help you, sir?

BRAD FOLLMER
Yes. I received a call
that John Doggett is here.

The nurse checks the computer. Brad watches on hoping the call wasnít a lie.

NURSE
Yes, heís in room 313.

BRAD FOLLMER
Thank you.

Brad makes his way down the hallway and finds room 313. He looks in through a window and sees John Doggett resting comfortably. Well, as comfortable as he can be. The car accident and coma really took its toll on him. Not to mention the cabin explosion that has now been erased from his mind.

Brad enters the room.

BRAD FOLLMER
John?

John looks over at him. He looks like a complete emotional wreck. He waves weakly at Brad. Brad makes his way into the room and sits next to his bed.

BRAD FOLLMER
What happened, John? Whereís Monica?

JOHN DOGGETT
(sad)
Iím sorry, Brad.

John wipes his tears away. Brad looks at him confused.

BRAD FOLLMER
(confused)
What?- John, you have nothing
to apologize for.

JOHN DOGGETT
Theyíre dead because of me.

John looks away from Brad. Brad watches him for a moment, not sure what heís talking about.

BRAD FOLLMER
No, John. No oneís dead-

JOHN DOGGETT
-The car accident, Brad. Dana and
Monica were in it with me. I killed them.

Brad is stunned. He knows Monica and Dana werenít in the car wreck with him. He got a phone call from Monica after Johnís wreck. Why does John think this?

BRAD FOLLMER
John, I-

Brad stops himself from pushing his questions. He can tell John isnít in any condition to deal with this right now. They both sit in silence. One not knowing the first thing thatís happened, having been given false memories of everything that has happened. Having no idea that Alex Krycek tried to kill him, and having no idea that Dana and Monica are alive and that heís not to blame for anything.

The other, knowing more facts than he should. Having kept Monicaís message as proof that she wasnít in that car accident. He saw Dana alive and well last night after he got back from New York. What could come of his knowledge? Danger? Death? Or an unforeseen truth?

FADE OUT:

THE END.


 

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