X-Files Logo 'Trust No 1'

Story Code '#9X08'
by Chris Carter
and Frank Spotnitz
X-Files Cast

SCENE 1 - MONTAGE SEQUENCE

(We open to a voiceover from SCULLY. Throughout this Tchaikovsky plays and in slow motion we see a montage sequence of moments from past episodes, all as if they have been surveillance footage. There are moments of MULDER and SCULLY from previous seasons, including from ‘All Things’, ‘Within’, ‘Leonard Betts’, ‘The Field Where I Died’, ‘Memento Mori’, ‘Demons’ and others. Some are shown as surveillance photos, others as life images that turn into black/white photos and some are like surveillance footage. There are some memorable moments that show us how SCULLY and MULDER have progressed throughout the years. As the voiceover draws to a close we see a shot from ‘Per Manum’ where the two stand together and then a bit of footage from ‘Dreamland II’ before they say goodbye to each other. Then we cut to the present. SCULLY is leaning over a dead male body on a train platform. She is distraught)

SCULLY V.O.:
One day, you'll ask me to speak of a truth - of the miracle of your birth. To explain what is unexplained. And if I falter or fail on this day, know there is an answer, my child, a sacred imperishable truth, but one you may never hope to find alone. Chance meeting your perfect other, your perfect opposite - your protector and endangeror. Chance embarking with this other on the greatest of journeys - - a search for truths fugitive and imponderable. If one day this chance may befall you, my son, do not fail or falter to seize it. The truths are out there. And if one day you should behold a miracle, as I have in you, you will learn the truth is not found in science, or on some unseen plane, but by looking into your own heart. And in that moment you will be blessed - and stricken. For the truest truths are what hold us together, or keep us painfully, desperately apart.


OPENING TITLES


SCENE 2 - TRAIN PLATFORM

(Earlier. SCULLY is pacing the train platform waiting for, presumably, a train. A surveillance camera watches her)


SCENE 3 - FEDERAL INTERNET CAFE, WASHINGTON, D.C

(SCULLY wheels WILLIAM into the cafe and orders a drink. The WAITRESS knows her)

WAITRESS:
Hey. Tall coffee with milk?

SCULLY:
Yes, thanks.

(SCULLY hands over WILLIAM's bottle of milk)

SCULLY:
And can I get a warm-up, please?

(SCULLY is seated at the computer. She has five new messages. The first three are junk mail, the next is a ‘requested research link’ from an FBI co-worker and the fifth is from someone with the email name ‘trust_no1’ and the subject is 'Dearest Dana'. SCULLY opens it, happy to have received a letter from MULDER. Her email address is ‘Queequeg0925’, a reference to her late dog and her family ‘obsession’ with ‘Moby Dick’. SCULLY reads the mail to herself)

SCULLY:
I've resisted contacting you for reasons I know you continue to appreciate. But, to be honest, some unexpected dimensions of my new life are eating away at any resolve I have left. I'm lonely, Dana, uncertain of my ability to live like this. I want to come home. To you, and to William.

(SCULLY looks at WILLIAM. The message has made her sad. She looks around as a woman, PATTI, wheels her baby in and stops at the counter. The baby is crying)

PATTI:
Shhh

(SCULLY starts writing her reply on the computer)

SCULLY:
I am physically shaking right now seeing your words. Wishing it were you speaking them to me. I want so badly to see you too, but you are still not safe here.

(SCULLY looks up. PATTI is gone and the baby is still there. SCULLY and the WAITRESS walk over to the baby)

SCULLY:
The child's mother, she was just here. Where did she go?

WAITRESS:
I think that's her out there.

(PATTI is outside having an argument with THE MAN ON THE STREET. She stomps away and returns to her child)

PATTI:
Excuse me.

(She kneels down, tending to her baby)

PATTI:
I'm sorry. I'm sorry.

(SCULLY smiles at PATTI and PATTI quickly takes her child and leaves)


SCENE 4 - FBI TRAINING ACADEMY, QUANTICO, VIRGINIA

(SCULLY is reading the Email which she printed out. REYES and DOGGETT enter the room and SCULLY puts the paper away)

DOGGETT:
Can we talk to you a second?

REYES:
It's about Agent Mulder.

SCULLY:
What about Mulder?

DOGGETT:
We got a guy contacting us through intelligence channels. He keeps saying he wants to talk to Fox Mulder only he won't say why.

SCULLY:
Well, who is he?

REYES:
We don't know. He always covers his tracks. But this morning we finally got him to tip his hand. He says he has highly classified military files.

SCULLY:
Files on what?

DOGGETT:
These bio-engineered soldiers we've all come in contact with. So-called super-soldiers. The same ones threatening Mulder's life, forcing him to live underground.

SCULLY:
What does he want with Mulder?

DOGGETT:
He wants to give him the names of these super-soldiers, and Mulder's the only person he'll give them to.

SCULLY:
Well, even if this was a good idea I don't know how to contact him.

(SCULLY leaves and walks into her classroom where her class is waiting)

SCULLY:
I'm sorry about that. I believe that last class we were covering petechia and evidence of death by...

(DOGGETT enters and interrupts)

DOGGETT:
Agent Scully.

(SCULLY comes outside with him)

DOGGETT:
What the hell are you doing?

SCULLY:
I'm trying to teach a class.

DOGGETT:
You understand what we're being offered here? If we know who these super-soldiers are we can go after them. This is somebody giving us a way that can make it safe for Mulder to come home.

SCULLY:
That's the operative word here - somebody. Somebody that we don't know.

DOGGETT:
And you don't want to check it out.

SCULLY:
What I don't want is Agent Mulder's life to be endangered any more than it already is.

DOGGETT:
How long are you going to do this?

SCULLY:
Do what, Agent Doggett?

DOGGETT:
Refuse to trust me... or anybody. How else you going to get him home?

(SCULLY walks back into the room)


SCENE 5 - STREET

(It is dark. SCULLY's car pulls up in the street. SHE gets out and goes to help WILLIAM. There is a fight nearby between a man and a woman. It is, in fact, PATTI and the MAN ON THE STREET, but SCULLY does not know this)

PATTI:
Leave us alone.

MAN ON THE STREET:
I am not going to do this.

PATTI:
Get away. Get away from us. Leave us alone.

MAN ON THE STREET:
She's coming with me.

PATTI:
What are you doing?

(SCULLY moves closer)

SCULLY:
Do you need help, ma'am?

PATTI:
No. Don't...

SCULLY:
Hey!

(The MAN is trying to get the BABY)

PATTI:
Don't take her with you.

MAN ON THE STREET:
No. I'm not letting you have her.

SCULLY:
Do you need me to call the police?

PATTI:
Don't go. Don't go! Please.

(The MAN is gone)

SCULLY:
Ma'am? Are you all right?

(She turns and SCULLY recognises her)


SCENE 6 - SCULLY'S APARTMENT

(SCULLY, WILLIAM and PATTI enter her apartment. SCULLY turns on the lights)

SCULLY:
Come on in. The phone's over there.

PATTI:
I don't know if it's such a good idea. Making out a police report.

SCULLY:
Well, you've obviously got a problem. I saw you this morning at the cafe. Is he your husband?

PATTI:
Yeah.

SCULLY:
It's okay. I understand. I mean it's hard enough caring for a child.

PATTI:
You don't have anyone, do you?

SCULLY:
No. But I wish I did.

PATTI:
Maybe he'll come back.

(SCULLY smiles at the thought)

SCULLY:
Do you have anywhere to go?

PATTI:
No.

SCULLY:
I'm going to get you a blanket and something hot to drink, all right?

PATTI:
Thank you.

SCULLY:
My name's Dana.

PATTI:
I'm Patti.

(They shake hands)


SCENE 7 - BETHESDA, MARYLAND, 9:32PM

(DOGGETT is sitting in his car and REYES is in hers behind him. They are watching a building. REYES gets out of her car and climbs into DOGGETT's)

REYES:
What do you have?

DOGGETT:
This source of ours decided to give my cell phone a call tonight. I ran a trace.

REYES:
Did you get a number?

DOGGETT:
No, but I got a node. A sector of six City blocks. The area's pretty vacant, except for this building here.

REYES:
Say this source is for real, and this is Mulder's chance to come home. We spook the spook, and maybe that chance goes away. Or worse, it drives Mulder deeper.

(A car pulls up across the street. The man gets out and goes in. It is the MAN ON THE STREET who fought with PATTI)

REYES:
Where are you going?

DOGGETT:
Take a little look into his car.

REYES:
I'll say it again - what we risk is compromising Mulder's return.

DOGGETT:
I don't plan on getting caught.

(DOGGETT gets out of the car)


SCENE 8 - INSIDE BUILDING

(It is a surveillance building. There are people sitting at desks looking at monitors. The MAN walks over to a desk with a man whose face we don't see, the SHADOW MAN)

MAN ON THE STREET:
Good evening. How are you?

SHADOW MAN:
Good. You? Your wife and kid?

MAN ON THE STREET:
They're good. Good. Everybody's good.

(The SHADOW MAN looks at his screen. It is surveillance of DOGGETT and REYES running across the road to look in the car)


SCENE 9 -TRAIN PLATFORM

(It is surveillance film, SCULLY is on the train platform. REYES is there also. A man who we can't see properly walks along as well)


SCENE 10 - 5:41 AM

(REYES is asleep. DOGGETT is reading a paper. The MAN ON THE STREET leaves the building and heads to his car)

DOGGETT:
Monica, wake up.

REYES:
What?

(The MAN drives away and DOGGETT follows)


SCENE 11 -SCULLY'S APARTMENT

(It is about the same time in SCULLY's apartment. PATTI is awake and stretching out on the sofa. SCULLY is sleeping. PATTI turns off the baby monitor and sneaks into WILLIAM's room where she picks him up. Meanwhile, SCULLY's cell phone rings and SCULLY wakes. She answers it)

SCULLY:
Hello.

DOGGETT:
You awake?

SCULLY:
Yeah. I just laid down. What time is it?

DOGGETT:
Six a.m.

(DOGGETT and REYES are walking towards her building)

DOGGETT:
Agent Reyes and I just tailed a car onto your street. We watched a guy go into your building. A guy we're guessing you've got no business with.

(SCULLY doesn't answer)

DOGGET:
You there, Agent Scully?

(SCULLY is in fact behind PATTI with her gun aimed. PATTI is holding WILLIAM)

SCULLY:
Put him down. Now!

PATTI:
Oh, my God.

SCULLY:
Put my baby down.

(PATTI puts WILLIAM back down in his crib. She didn't expect this. The door handle turns. The MAN ON THE STREET is picking the lock. DOGGETT comes up the stairs and sees him, pinning the MAN against the wall. They start fighting and REYES runs to the door and slams her fist on it a few times)

REYES:
Agent Scully?

(SCULLY still has her gun aimed at PATTI, as the door opens)

REYES:
Agent Scully, do you know this man?

(SCULLY looks down at the MAN ON THE STREET)

DOGGETT:
I wouldn't think so. Not with him trying to pick his way into your place.

(DOGGETT shows SCULLY the lock-pick)


SCENE 12 - SCULLY'S APARTMENT, LATER

(PATTI and the MAN ON THE STREET are sitting on a couch. SCULLY, DOGGETT and REYES are there also)

DOGGETT:
Start with who you work for.

MAN ON THE STREET:
I'm not at liberty to say.

DOGGETT:
Is this your wife? Maybe she's at liberty. Maybe she doesn't want to accompany you to prison.

SCULLY:
You staged this, didn't you? Arguing on the street. Everything.

PATTI:
No.

SCULLY:
It's a con job. What are you after? My baby?

PATTI:
No, no. I want to protect William.

MAN ON THE STREET:
That's enough. You want to get us killed?

PATTI:
You said... you said that they could help us. You told me that. That's what you said.

DOGGETT:
What the hell is going on here?

MAN ON THE STREET:
They're watching.

DOGGETT:
They're watching?

(SCULLY walks over to the window and lowers the blinds)

SCULLY:
You got something to say, say it.

MAN ON THE STREET:
I work for the National Security Agency. The name on my driver's license is false. If you were to call the police I would be detained only long enough for another NSA agent to authorise my release. I don't exist as a citizen, nor does anyone I work with.

DOGGETT:
So what are you doing here?

MAN ON THE STREET:
As you can see, my wife is upset. I was coming to get her to stop this very event.

REYES:
What's she so upset about?

PATTI:
We have a daughter... Joy. There's something about her. Something different. Just like there's something different with her son William.

(SCULLY looks at them, she knows what they mean and looks a bit shell-shocked)

DOGGETT:
Different how? How do you know anything about her or her son?

MAN ON THE STREET:
(To DOGGETT) I know virtually everything about you. (To REYES) And you. (To SCULLY) And you. Several months ago, you saw your son affect the movement of the mobile over his crib. He spun it, as if with his mind. It happened to us the same way.

REYES:
So you've been looking in this apartment with what, cameras?

MAN ON THE STREET:
Various forms of technology.

REYES:
Then it's you who's been contacting us.

MAN ON THE STREET:
Not directly. My scope is limited. I only look at what they tell me to. But I have a supervisor who I've told everything I'm telling you about my daughter, and her son, and he started to look into it. He learned things about a super- soldier program. Things he won't tell us. Crimes, he says, against innocent people.

SCULLY:
What does he want with Mulder?

MAN ON THE STREET:
Mulder's the only one capable of making the connections, he says.

PATTI:
Maybe we can help you. And maybe you can help us find out the truth. About what our babies really are.

(SCULLY's phone rings and she answers it)

SCULLY:
Hello.

(It is the SHADOW MAN, sitting at his desk, using something to change his voice on the line)

SHADOW MAN:
You've had quite an earful.

SCULLY:
Who is this?

SHADOW MAN:
As my associate indiscreetly told you, we don't have names.

SCULLY:
You've been listening to us?

SHADOW MAN:
It's all I could do after you closed the shades, Agent Scully.

SCULLY:
You ever heard of the Constitution?

SHADOW MAN:
Yes. It's what allows foreign terrorists to live here and enjoy the American dream, until time comes to destroy it. But my trespasses are the least of your concern, after what they've done to you and Mulder.

SCULLY:
What have they done?

SHADOW MAN:
Actually, it's what they're prepared to do next.

SHADOW MAN:
I'd be happy to tell Agent Mulder.

SCULLY:
Well, you're going to have to tell me 'cause I don't know how to reach Agent Mulder.

SHADOW MAN:
You reached him yesterday. You sent him an e- mail. Would you like me to read it to you?

(SCULLY is on the verge of breaking down into tears)

SCULLY:
Look why should I trust you? You're just a voice on the end of the phone. I'm not going to give you anything unless I can meet you. Unless I... unless I can see your face. Are you still there?

SHADOW MAN:
If you think you can flush me out you're making a big mistake. Bus bench, Internet cafe. Come alone. You have twenty minutes.

(HE hangs up, SCULLY grabs her coat)

DOGGETT:
Agent Scully? What are you doing?

SCULLY:
I'm going to meet your contact. I think you should watch William, Monica.

DOGGETT:
I don't like this. I don't like the feel of it and I don't like you agreeing to it without backup.

SCULLY:
You said I had to trust someone, right? Well, that's what I'm doing.


SCENE 13 - EXTERIOR, FEDERAL INTERNET CAFE

(SCULLY sits down on the bus bench and instantaneously her cell phone rings)

SCULLY:
Hello?

(The SHADOW MAN again, he is distorting his voice)

SHADOW MAN:
Are you armed, Agent Scully?

SCULLY:
Yes.

SHADOW MAN:
Then you're prepared to use your weapon should anything go wrong?

(We see a surveillance camera is monitoring SCULLY outside the cafe)

SCULLY:
I'm not sure I follow you.

SHADOW MAN:
Then do exactly as I say. If you vary my instructions in the smallest way, we're over. If I see, or suspect that you're not working alone I will terminate our communication. If I believe a third party is trying to use this meeting to prevent our exchange you must be prepared to use your weapon in your own defence. Am I clear?

SCULLY:
Yes.

SHADOW MAN:
There's a green sedan across the street from you. The keys are in it. I want you to get in the car.

(SCULLY goes over to the car. The surveillance camera follows her. SCULLY looks around suspiciously and then gets into the car)

SCULLY:
All right, what next?

SHADOW MAN:
Start the engine, put the car in drive and await my next order. Pull out quickly! Go now!

(SCULLY pulls out into the traffic. A car approaching behind her slams on the brakes and honks the horn. SCULLY continues driving)

SHADOW MAN:
Agent Scully?

SCULLY:
Is it absolutely necessary to get innocent people hurt?

SHADOW MAN:
You're free to stop the car and walk away at any time. Up to you. I'm doing this for your own protection and for Mulder's.

SCULLY:
So where am I going?

SHADOW MAN:
Turn right. Right now.

(SCULLY turns into a narrow alley. She stops the car and gets out, walking away)

SHADOW MAN:
Stop the car. Get out, Agent Scully. Turn the engine off, take the keys out. Walk to the top of the alley. There's another car there. Get in and drive directly to the interstate on-ramp heading west. You will continue driving west until I tell you otherwise.


SCENE 14 - ROAD, NIGHT

(It is now night. SCULLY is still holding the phone out her ear and driving)

SHADOW MAN:
That's far enough. Get out of the car. Leave it running.

SCULLY:
Where are you?

SHADOW MAN:
Move around to the trunk. You'll see a change of clothes inside for you. Put them on.

SCULLY:
Look, uh... we're in the middle of nowhere.

(She opens the trunk. There are clothes inside)

SHADOW MAN:
There is no middle of nowhere anymore, Agent Scully.

(As SCULLY changes into the clothes, someone is watching her. She finishes changing and bends down to pick up her old clothes from the ground. The SHADOW MAN appears in front of her)

SHADOW MAN:
Put the gun in the trunk. Your clothes, too.

(SCULLY does as she is told. The SHADOW MAN turns on a remote control and the car starts driving away. SCULLY is still beginning to take all this in. The car blows up when it is far enough away)

SHADOW MAN:
Your watch. Give it to me.

SCULLY:
This is ridiculous. This has gone far enough.

SHADOW MAN:
Do you want to see Mulder again?

(SCULLY reluctantly takes off the watch and hands it to him. He examines it and then gives it back)

SCULLY:
These clothes that I'm wearing... they're my size. How the hell do you know my size?

SHADOW MAN:
Your size? I know your blood type, your resting heart rate, your childhood fear of clowns. I know the name of your College boyfriend, your true hair colour, your ATM pin number, favourite charities, pet peeves. I know you spend too much time alone. And I know that on one lonely night you invited Mulder to your bed.

(SCULLY is speechless. She is having trouble believing this and starts to cry)

SCULLY:
Oh, my God.

SHADOW MAN:
I was as surprised as you are.

SCULLY:
Who authorises you? I mean, what gives you the right? Who are you?!

SHADOW MAN:
I'm the future, Agent Scully. And I risked my life being here.

SCULLY:
Well, then why do it? I mean, why meet me?

SHADOW MAN:
Because you can reach Mulder. Mulder needs to know what I know or he may have no future. Perhaps no one will. Another car is parked on the main road, half a mile out. If I see that you haven't contacted Mulder in the next twenty- four hours, I disappear and you never see me again. Do you understand, lady?

(He gives her some car keys and watches her as she walks off)


SCENE 15 - FBI TRAINING ACADEMY, QUANTICO, VIRGINIA

(SCULLY is teaching when she sees AGENT DOGGETT waiting outside)

SCULLY:
Excuse me.

(SCULLY comes over to the lab door, opening it and standing in the doorway)

SCULLY:
I'm teaching a class, Agent Doggett. Is it something pressing?

DOGGETT:
Yeah. I'm worried now about what it is I've gotten you into.

SCULLY:
You're right to be worried.

DOGGETT:
This guy that led you all over town last night... he says he wants to talk to Mulder, right? Why does he need you? Why not go to Mulder directly? 'Cause this guy knows Mulder resurfaces only if the one person he trusts asks him to.

SCULLY:
That guy didn't come to me, Agent Doggett, he came to you. That woman that I took in blew his cover. He had no other choice.

DOGGETT:
Did you ever stop to think that this woman and her husband are in on this, too?

SCULLY:
I don't believe that. That woman is truly scared for her child for the same reasons that I am.

DOGGETT:
How do you know they're not being used by this Shadow Man to lure Mulder out? To kill him?

SCULLY:
'Cause that couple doesn't even necessarily trust the Shadow Man. I mean, for their own reasons.

DOGGETT:
You think about it. This guy seems to know everything. He even reads your e-mail. How can you, or anybody hope to ensure for Mulder a safe passage home?

SCULLY:
Mulder and I already considered that even before he left. His return has been pre-arranged. The place, the mode of transport, everything's been set.

DOGGETT:
Well, you can call the whole thing off?

SCULLY:
I can't. I've already sent for him. Mulder's on a train. He'll be here at midnight.

DOGGETT:
Maybe you can reach him.

SCULLY:
You can't do that to me.

DOGGETT:
I'm sorry.

SCULLY:
I want to see him so bad.

DOGGETT:
I know. And I want to make sure that you get to, Dana. That's the whole reason I'm here.

SCULLY:
Well, it's too late. And I have to go.


SCENE 16 - 10:48 PM

(SCULLY is pacing around. She still has an hour or so but she is very nervous. A camera watches her)


SCENE 17 -FBI EVIDENCE LAB

(DOGGETT enters, with an evidence bag. AGENT EDIE BOAL is examining something at the bench. She spots DOGGETT)

DOGGETT:
Agent Boal? Edie Boal? Yeah, I'm John Doggett. We spoke a few minutes ago. You said if I came right down you might be able to help me out.

AGENT BOAL:
What'd I get myself into?

DOGGETT:
I've got some clothing here. I'm looking for anything you can find that might give me an I.D.

AGENT BOAL:
Male or female?

DOGGETT:
It's a male who handled them and he gave them to a female agent.

AGENT BOAL:
When do you need them?

DOGGETT:
I got a little over an hour.

AGENT BOAL:
Your staring over my shoulder doesn't make me go faster.

(DOGGETT leaves her alone and walks away)


SCENE 18 - PLATFORM 11:26 PM

(SCULLY paces. She sees REYES coming towards her and on the other side, the MAN ON THE STREET. The surveillance camera is turning and watching. The MAN ON THE STREET sees the camera and takes out a black spray-can which he uses to spray on the camera lens)


SCENE 19 - X FILES OFFICE, 11:38 PM

(DOGGETT is in the X Files office, watching the clock. He grabs his jacket and leaves)


SCENE 20 - PLATFORM, 11:56 PM

(REYES, SCULLY and THE MAN ON THE STREET are all waiting anxiously)

STATION ANNOUNCER:
May I have your attention please? Southbound 112 now arriving. Southbound 112 now arriving. Please stay clear of the platform until the train comes to a full stop.

(The train closes in. We are in slow motion. As SCULLY watches the train, the MAN ON THE STREET pulls out a gun. He aims it at SCULLY. REYES sees this and calls out but the MAN pulls SCULLY to the ground. He is aiming at her and shouting. A group of people emerge and among them is the SHADOW MAN. He is aiming his gun at the MAN ON THE STREET. He fires and hits the MAN. The MAN collapses and REYES grabs her gun to protect SCULLY. But someone else has already shot the SHADOW MAN. DOGGETT appears not far away. The SHADOW MAN falls into the path of the train, or so it seems. We turn back to normal speed)

STATION MANAGER:
(On radio) Two men shot! Two men shot! Keep rolling!

(SCULLY runs up to him)

SCULLY:
Stop the train!

STATION MANAGER:
Keep rolling!

SCULLY:
I'm a Federal Agent!

STATION MANAGER:
Keep rolling!

(The train passes, SCULLY calls out and tries to see if MULDER is in the train)

SCULLY:
Mulder!

(The train leaves. A devastated SCULLY runs back to where DOGGETT and REYES are looking at the MAN ON THE STREET. He is dying. SCULLY puts his head in her hands as he dies. We fade to ...)


SCENE 21 - PLATFORM, LATER

(The police have now arrived. DOGGETT and an OFFICER are looking over where the SHADOW MAN was. SCULLY and REYES are sitting on a bench. PATTI walks over to them)

PATTI:
Agent Scully? It wasn't supposed to happen. This wasn't supposed to happen at all. All we wanted was answers. We never meant to harm you. My husband was not a part of this.

SCULLY:
I know. I know that he was only trying to protect me.

PATTI:
The man who he works for - he's the one who's responsible for this.

SCULLY:
I know. I'm sorry.

SCULLY:
I'm so sorry.

(SCULLY and PATTI tearful hug. DOGGETT walks over and meets REYES near the others)

REYES:
What is it?

DOGGETT:
What I was afraid of.

SCULLY:
Agent Doggett, what?

DOGGETT:
We can't find him.

SCULLY:
Who?

DOGGETT:
The man I shot. He fell in front of a frikkin' moving train but he ain't down there on the tracks.

SCULLY:
Well, where is he?

DOGGETT:
Nowhere. It shouldn't make a bit of sense, but it does. I went to run the DNA on the clothes he gave you, only the man's DNA can't be tested. They say it's some kind of weird DNA complexed with iron or some damn thing.

REYES:
That doesn't make sense.

DOGGETT:
I think it does. 'Cause he's not a man. He's a super-soldier.

SCULLY:
Mulder. I've got to warn Mulder.

(SCULLY runs over to the STATION MANAGER, who is standing on the platform with some other passengers)

SCULLY:
Get on the radio! Get on the radio and alert them that there's a situation on that train.

STATION MANAGER:
A situation?

SCULLY:
The man who fell on the tracks, he's gotten on that train.

(Before the STATION MANAGER can take this in, there is a voice on the radio)

RADIO VOICE:
This is the Southbound 112. We got a jumper. A man jumped off the train at the mile 19 connector, ran into the Manville rock quarry there.

(SCULLY turns away now almost positive MULDER is dead)


SCENE 22 - MANVILLE ROCK QUARRY, 1:17 AM

(A car comes to a halt at the quarry. SCULLY climbs out and gets into the driver's seat. DOGGETT and REYES get out of the car)

DOGGETT:
Agent Scully, you drive. Head down into the quarry and we'll meet you at the bottom.

SCULLY:
Okay.

(SCULLY drives off. DOGGETT and REYES also do, on foot. They climb down a steep cliff and DOGGETT sees a man's far below. Whoever it is is running away)

DOGGETT:
Agent Reyes! Mulder! Mulder!

(The figure stops, staring up at DOGGETT)

DOGGETT:
Mulder, it's John Doggett!

(The figure starts to run again. Meanwhile SCULLY is searching)

SCULLY:
Mulder? Mulder?

(She calls out again but there is nothing but silence. The figure that emerges from the mist is a very-much-alive SHADOW MAN. SCULLY runs away from him and discovers herself in a deep quarry. There is machinery around as well. The SHADOW MAN appears and SCULLY draws her gun. He continues walking towards her none the less)

SCULLY:
Stop there! Stop right there! Why do you want to kill us?!

(The SHADOW MAN continues walking towards SCULLY)

SHADOW MAN:
Mulder must die. Mulder or your son.

(He moves closer, SCULLY holds her gun towards him anyway)

SCULLY:
What are you talking about? What does this have to do with my son? What's wrong with my son?! Answer me!

(The SHADOW MAN stops and he looks like he is in pain. He looks around at the area around him, it appears to be the reddish ‘stuff’ around the rocky area. He drops to his knees and an uncertain SCULLY continues her aim. He falls to his chest and huge patches of black appear on his head. He is having some kind of seizure thanks to the chemicals in the rocks. His body goes flying up to the wall and he hits it, his body exploding into nothingness. SCULLY is on the ground and looks up, but there is nothing there. The SHADOW MAN is dead and gone. SCULLY runs away quickly, unsure of what just happened)


SCENE 23 - INTERNET CAFE

(It is night. WILLIAM is in his stroller and SCULLY is typing another message to MULDER)

SCULLY:
I hold no hope you can respond to this. Or that it reaches you. I only hope that you are alive. I cannot help believing that you jumped off that train because you knew what I now know - that these ‘super-soldiers’, if that's what they are, can in fact be destroyed. That the key to their destruction lies in the iron compound at that quarry. I am scared for you, Mulder. And for William. The forces against us are unrelenting. But so is my determination. To see you again. To regain the comfort and safety we shared for so brief a time. Until then, I remain forever yours, Dana

(SCULLY smiles as she strokes WILLIAM's cheek. She presses the 'Send' button and a message appears to say she has sent it. She smiles as she looks down at WILLIAM...)

[THE END]



Gillian Anderson (Special Agent Dana Scully), Robert Patrick (Special Agent John Doggett), Mitch Pileggi (A.D Skinner), Annabeth Gish (Special Agent Monica Reyes), Steven Flynn (Man on the Street), Fitz Houston (Station Manager), Kathryn Joosten (Agent Edie Boal), Terry O'Quinn (Shadow Man), Brianne Prather (Young Woman), James & Travis Riker (William Scully), Allison Smith (Patti)

Directed by Tony Wharmby

TX:
US TX - 6th January 2002

Notes:
*Featuring Special Special Agent Dana Scully, Special Agent John Doggett, Special Agent Monica Reyes, and A.D. Walter Skinner

*The title refers to Mulder's computer password, as seen in ‘Little Green Men’

*The tag line ‘The Truth Is Out There’ is changed to ‘They're Watching’

*During the credits sequence there is a flash-frame of a document containing the names of many online X-Philes and some anagrams of ‘X-Files’ characters (e.g. ‘Deform Lux’ is Fox Mulder) under the heading ‘FBI Contacts, Witnesses and Contributors’:



*Scully's screen-name is ‘QUEEQUEG0925’ - Queequeq was Scully's dog in season three, while 09/25 is the birthdate of Gillian Anderson's daughter, Piper