9X08: TRUST NO 1 #9ABX08 ORIGINAL AIR DATE: 01/06/2002 WRITTEN BY: CHRIS CARTER & FRANK SPOTNITZ DIRECTED BY: TONY WHARMBY ========================== DISCLAIMER: ========================== The X-files and all its characters and episodes are owned by FOX, Chris Carter, and Ten Thirteen Productions. This transcript was made without their permission and it is absolutely forbidden to use it for commercial gain. Please let me know if you catch any inaccuracies. If you would like to use this transcript on your site, please let me know so I can visit the site! I do ask that the transcript and all names and disclaimers be left intact. Believe it or not, this is hard work both for the transcriptor and his/her VCR. Feel free to add on your own disclaimer for your particular site. Transcript downloaded from: http://www.allthingx.com Thanks to steph@philedom2k.com For corrections / inaccuracies contact: steph@philedom2k.com ========================== 9X08: TRUST NO 1 ========================== < TEASER > MONTAGE OF CLIPS: SCULLY V.O.: One day, you'll ask me to speak of the 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 endangerer. 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. < /TEASER > << TITLE CREDITS >> [Captioning sponsored by Fox Broadcasting Company Twentieth Century Fox Television and Toyota. Get the feeling.] Tag Line: THEY'RE WATCHING (COMMERCIAL SET #1) SCENE #1: [CAMERA ON SCULLY AT TRAIN STATION] (The camera motor whines. SCULLY is walking up and down the train station plank. Several cameras record her movements from different angles.) SCENE #2 FEDERAL GROUNDS INTERNET CAFE WASHINGTON D.C. (SCULLY pushes WILLIAM's stroller to an Internet Cafe.) YOUNG WOMAN (behind the counter): Hey. Tall coffee with milk? SCULLY: Yes, thanks, and can I get a warm-up, please? (SCULLY settles at the computer and logs in. She is greeted with the following. "You have 5 new mesages" (1) Lose 25 lbs. In TWO WEEKS - Guaranteed!! (tracy1893@dieters) (2) Travel Bargains-Airfare Discounts! (HotTravelBargains) (3) Tired Of Your Old Job??? (Sue185@RRS) (4) Requested Research Link (drstanton@fbi.gov) (5) Dearest Dana (trust_no1@mail.com) [The date on the e-mail is 01/07/2002] ) (Scully V.O.): "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 glances down at WILLIAM who is contentedly drinking from his milk bottle. She's distracted and notices another woman with a baby in a stroller enter the Internet Cafe.) THE WOMAN (PATTI): shh-shh-shh. (SCULLY wipes a tear from her eye.) SCULLY (v.o. typing): 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 hears a baby crying and notices that the woman's baby in the stroller is crying, but the woman is not around. SCULLY glances about her in the Cafe looking for the woman. Not seeing her, she rises and approaches the counter. The YOUNG WOMAN behind the counter moves to comfort the crying baby. SCULLY approaches them both.) SCULLY: The child's mother, she was just here. Where did she go? (The YOUNG WOMAN behind the counter glances about and sees something outside.) YOUNG WOMAN (to SCULLY): I think that's her out there. (SCULLY looks and sees the WOMAN arguing with a MAN. The WOMAN is clearly upset. She leaves the MAN and walks back into the Internet Cafe.) THE WOMAN: I'm sorry. (to THE BABY) I'm sorry. (THE WOMAN, who had been crying, takes the stroller and leaves. SCULLY watches them go.) SCENE #3: FBI TRAINING ACADEMY QUANTICO, VIRGINIA (SCULLY is in her office reading a folded print out of the e-mail sent by MULDER. She is interrupted by the sounds of a door opening. She sees DOGGETT and REYES entering the outer office and quickly folds the print out and tucks it away in her lab coat pocket. The door opens. DOGGETT and REYES walk into SCULLY's office.) DOGGETT: 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 bioengineered 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's watches both of them.) SCULLY: Well, even if this was a good idea I don't know how to contact him. (SCULLY walks out of the office and to a group of students standing around a cadaver.) SCULLY (to CLASS): I'm sorry about that. I believe that last class we were covering petecchia and evidence of death by... DOGGETT: Agent Scully. (DOGGETT will not be deterred. SCULLY and he walk out to the hallway.) 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 turns to leave.) SCULLY: Do what, Agent Doggett? DOGGETT: Refuse to trust me ... or anybody. How else you going to get him home? SCENE #4: [DARK STREET OUTISDE SCULLY'S APARTMENT] (SCULLY drives home. She stops the car, gets out and proceeds to get WILLIAM from the back seat of the car. She's interrupted and hears an argument occurring nearby. A Man ) Closed Caption differences in [[brackets.]] [[THE MAN ON THE STREET: You're coming with me now. WOMAN: No, I need to do this. THE MAN ON THE STREET: You don't need to do anything. ...You keep doing this. Get in the car. I said, get in the car. I am not telling you again ... ]] WOMAN: Leave us alone. THE MAN ON THE STREET: I am not going to do this. WOMAN: Get away. Get away from us. Leave us alone. THE MAN ON THE STREET: She's coming with me. WOMAN: What are you doing? SCULLY: Do you need help, ma'am? WOMAN: No. Don't ... SCULLY: Hey! WOMAN: Don't take her with you. (The MAN takes the baby from The WOMAN. He walks back to the car and puts her in the back seat.) THE MAN ON THE STREET: No. I'm not letting you have her. SCULLY: Do you need me to call the police? (THE MAN drives off.) PATTI: Don't go. Don't go! Please. SCULLY: Ma'am? Are you all right? (THE WOMAN turns around and SCULLY sees that it's the same woman from the Internet Cafe.) (SCULLY opens the door to her apartment and enters carrying WILLIAM. PATTI follows her in.) 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: 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. SCENE #5: BETHESDA MARYLAND 9:32 PM (DOGGETT is sitting inside a car watching the exterior of a building. Footsteps can be hears approaching the car. REYES gets in.) REYES: What do you have? DOGGETT: This source of ours decided to give my cell phone a call tonight. I had it traced. 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. (DOGGETT considers her words. They notice a car pulling up to the building that they're watching. THE MAN ON THE STREET gets out of the car and goes into the building. DOGGETT starts to leave the car. REYES stops him.) 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 exits the car.) SCENE #6: [INSIDE THE BUILDING] (THE MAN enters a computer room.) MAN: Good evening. How are you? SHADOWMAN: Good. You? (THE MAN nods his head.) SHADOWMAN: Your wife and kid? THE MAN: They're good. Good. Everybody's good. (The camera moves and shows SHADOWMAN watching DOGGETT and REYES as they break into THE MAN's car.) (COMMERCIAL SET #2) SCENE #7: [CAMERAS ON SCULLY AT THE TRAIN STATION] (SCULLY is walking back and forth on the train platform. The Camera sees SCULLY glance at REYES. The camera sees REYES. The camera sees THE MAN ON THE STREET walking at the train station.) SCENE #8: 5:41 AM (DOGGETT is awake doing the newspaper crossword puzzle. REYES is sleeping in the passenger seat. DOGGETT looks up and sees THE MAN exit the building.) DOGGETT: Monica, wake up. REYES: What? (They both watch as THE MAN ON THE STREET drives off. They follow.) SCENE #9: [SCULLY'S APARTMENT] (PATTI is lying down on SCULLY's couch. She is still awake and very nervous. She gets up, checks to see that SCULLY is sleeping in her room, turns the baby monitor OFF and proceeds to pick up WILLIAM. SCULLY is awakened by a phone call. It's DOGGETT.) SCULLY: Hello. DOGGETT: You awake? SCULLY: Yeah. I just laid down. What time is it? DOGGETT: 6:00 A.M. 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 hears WILLIAM cry in the next room.) DOGGETT: You there, Agent Scully? (SCULLY silently approaches the living room and finds PATTI holding WILLIAM. She turns her gun on PATTI.) SCULLY: Put him down. Now! PATTI: Oh, my God! SCULLY (quietly to PATTI): Put my baby down. (PATTI puts WILLIAM down in the bassinet and backs away. SCULLY sees and hears someone outside her door trying to get in.) CUT TO THE HALLWAY OUTSIDE SCULLY'S APARTMENT DOOR ... (DOGGETT finds THE MAN ON THE STREET outside SCULLY's apartment door trying to get in. He grabs the man, tosses him against the wall to quickly frisk him, then pushes him to the floor to handcuff his hands behind his back. REYES appears on the floor.) (Meanwhile, inside, SCULLY still has her gun on PATTI.) REYES (pounding on door): Agent Scully! (SCULLY slowly maneuvers around PATTI without taking her gun off of her and opens the door to REYES.) Agent Scully, do you know this man? DOGGETT: I wouldn't think so. Not with him trying to pick his way into your place. (DOGGETT holds out THE MAN's lock picks.) SCENE #10: [SCULLY'S APARTMENT] (They are all inside SCULLY's apartment. THE MAN ON THE STREET and PATTI are seated, the agents standing around them.) DOGGETT: Start with who you work for. THE MAN ON THE STREET: I'm not at liberty to say. DOGGETT: Is this your wife? Maybe she's at liberty. Maybe she don'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. THE MAN ON THE STREET: 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 doesn't like what he's hearing.) DOGGETT: What the hell is going on here? (THE MAN ON THE STREET looks up.) THE MAN ON THE STREET: They're watching. DOGGETT: They're watching? (THE MAN ON THE STREET looks up at SCULLY who glances at REYES, turns and pulls the curtain down.) SCULLY: You got something to say, say it. THE 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 authorize my release. I don't exist as a citizen, nor does anyone I work with. DOGGETT: So what are you doing here? THE 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 is frightened by what she's hearing.) DOGGETT: Different how? How do you know anything about her or her son? THE 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 effect the movement of the mobile over his crib. He spun it as if with this mind. It happened to us the same way. REYES: So you've been looking in this apartment with what, cameras? THE MAN ON THE STREET: Various forms of technology. REYES: Then it's you who's been contacting us. THE 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 your son and he started to look into it. We 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? THE 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. (The phone rings.) SCULLY: Hello. SHADOW MAN (Altered voice): 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. 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 email. Would you like me to read it to you? SCULLY: 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 20 minutes. (Connection disconnects. SCULLY prepares to leave.) 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 #11: [BENCH OUTISDE FEDERAL GROUNDS INTERNET CAFE] (SCULLY is near the bench. Her cell phone rings.) SCULLY: Hello. SHADOWMAN: Are you armed, Agent Scully? SCULLY: Yes. SHADOWMAN: Then you're prepared to use your weapon should anything go wrong? (The cameras are watching her.) SCULLY: I'm not sure I follow you. SHADOWMAN: 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 defense. Am I clear? SCULLY: Yes. SHADOWMAN: There's a green sedan across the street from you. The keys are in it. I want you to get in the car. (SCULLY stands, crosses the street and gets into the car. The cameras are following her every move.) SCULLY: All right, what next? SHADOWMAN: Start the engine, put the car in drive and await my next order. (SCULLY complies.) SHADOWMAN: pull out quickly! Go now! (SCULLY complies.) SHADOWMAN: Agent Scully. SCULLY: Is it absolutely necessary to get innocent people hurt? SHADOWMAN: 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? SHADOWMAN: Turn right. Right now. (The cameras are watching.) 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. Continue driving west until I tell you otherwise. (Tires screeching as SCULLY drives off. It's dark now.) SCENE #12: [THE MIDDLE OF NOWHERE] SHADOWMAN: That's far enough. Get out of the car. (SCULLY reaches for the keys to turn the car off. SHADOWMAN stops her.) Leave it running. (SCULLY looks around and can't see anyone. She gets out of the car. The car door is dinging.) SCULLY: Where are you? SHADOWMAN: 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! SHADOWMAN: There is no middle of nowhere anymore, Agent Scully. Put the gun in the trunk. Your clothes, too. (SCULLY complies. When she is done, the SHADOWMAN appears. The car engine revs. He closes the car's trunk door and with a remote, he moves the car forward and detonates it, proving that he could have killed her at any moment she was in the car.) SHADOWMAN: Your watch. Give it to me. SCULLY: This is ridiculous. This has gone far enough. SHADOWMAN: Do you want to see Mulder again? (SCULLY stares at SHADOWMAN. She hands him her watch. He looks at it and returns it to her.) SCULLY: These clothes that I'm wearing ... they're my size. How the hell do you know my size? SHADOWMAN: 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 color, your ATM pin number favorite 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 (Hoarsely): Oh, my God. SHADOWMAN: I was as surprised as you are. SCULLY: Who authorizes you? I mean, what give you the right? Who are you?! SHADOWMAN: I'm the future, Agent Scully; and I risked my life being here. SCULLY (Scoffs): Well, then why do it? I mean, why meet me? SHADOWMAN: 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 24 hours I disappear and you never see me again. Do you understand, lady? (SHADOWMAN hands her a set of car keys. SCULLY grabs them and begins walking down the road.) (COMMERCIAL SET #3) SCENE #13: FBI TRAINING ACEDMY QUANTICO, VIRGINIA (DOGGETT approaches the window watching SCULLY teach a class over a cadaver. SCULLY sees him, leaves her students and joins DOGGETT in the hallway.) 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. I mean, 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. (DOGGETT looks surprised.) His return has been prearranged. 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. (SCULLY leaves DOGGETT standing out in the hallway as she returns to her class.) SCENE #14: [TRAIN STATION] 10:48 PM (SCULLY is pacing the Train Platform waiting and glancing at her watch. The cameras are watching her.) SCENE #15: FBI EVIDENCE LAB (Doggett walks in holding an evidence bag. He approaches a technician.) 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 EDIE 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 EDIE BOAL: Male or female? DOGGETT: It's a male who handled them and he gave them to a female agent. AGENT EDIE BOAL: When do you need them? DOGGETT: I got a little over an hour. AGENT EDIE BOAL: Your staring over my shoulder doesn't make me go faster. (DOGGETT leaves.) SCENE #16: [TRAIN STATION] (Scully is still at the train station. She glances down at her wrist watch. It's 11:26 pm on the 6th. REYES is there watching Scully. The cameras are watching. THE MAN ON THE STREET is there. The blackens out the cameras in front of SCULLY. SCENE #17: [BASEMENT OFFICE] (Meanwhile, DOGGETT is back in the basement office waiting for word on the evidence. He glances at his desk clock: It's 11:38 pm. He puts down the baseball he's been fiddling with, grabs his jacket and heads out the door.) SCENE #18: [TRAIN STATION] (Back at the Train station, the clock reads 11:55 pm. SCULLY is eagerly waiting the train stop as more people gather at the platform. REYES is there and THE MAN ON THE STREET is also there.) PLATFORM ANNOUNCER: May I have your attention please? Southbound 112 now arriving. Southbound 112 now arriving. Please stay clear of the platform till the train comes to a full stop. (In slow motion:) (All eyes are on the train as it heads in. THE MAN ON THE STREET stands behind SCULLY and pulls out his gun. REYES sees this and yells a warning to SCULLY as she heads toward SCULLY. On the other side of her, SHADOWMAN pulls out his gun. REYES knocks SCULLY to the side. SHADOWMAN fires at THE MAN ON THE STREET, killing him and slowly approaches SCULLY, gun drawn. As he takes aim, a gunshot is heard off to the side hitting SHADOWMAN in the left kneecap. SHADOWMAN falters. A second gunshot is fired hitting SHADOWMAN in the left breast. He falls to the train tracks. DOGGETT puts his smoking gun down.) TRAIN MAN (to the Walkie-Talkie): Two men shot! Two men shot! Keep rolling! SCULLY: Stop the train! TRAIN MAN: Keep rolling! SCULLY: I'm a federal agent! TRAIN MAN: Keep rolling! SCULLY (as the train passes her by): Mulder! (SCULLY rushes to THE MAN IN THE STREET too late to do anything as he dies. SCULLY, with tears in her eyes, glances up at the train that has passed her by.) (COMMERCIAL SET #4) SCENE #19: [TRAIN STATION] (The police are combing the tracks looking for a sign that the SHADOWMAN is dead. DOGGETT talks with the Police man. SCULLY and REYES are sitting on the train platform bench. PATTI accompanied by a POLICE OFFICER approaches SCULLY.) PATTI: Agent Scully? It wasn't supposed to happen. This wasn't supposed to happen. 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 holds PATTI as she cries. PATTI and the officer both leave. SCULLY turns to look at REYES. REYES sees DOGGETT approaching them.) 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 freaking 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 complex 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 (nods): Mulder. I've got to warn Mulder. (SCULLY turns to the TRAIN MAN.) SCULLY: Get on the radio! Get on the radio and alert them that there's a situation on that train. TRAIN MAN: A situation? SCULLY: The man who fell on the tracks, he's gotten on that train. MAN ( over radio ): 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. SCENE #18: MANVILLE QUARRY 1:17 AM (The car with the agents stops at the side of the road on the top of the Quarry. DOGGETT and REYES exit the car. SCULLY gets back in.) DOGGETT: Agent Scully, you drive. Head down into the quarry and we'll meet you at the bottom. SCULLY: Okay. DOGGETT: Agent Reyes! (They stop and see a lone figure of a man running across the quarry bottom.) Mulder! Mulder! (The figure stops running and faces the voice calling his name.) Mulder, it's John Doggett! (The figure considers stopping for a moment and continues on. DOGGETT and REYES follow.) SCENE #19: [INSIDE THE MANVILLE QUARRY] (SCULLY stops the car at the bottom of the Quarry. She gets out of the car. She calls to Mulder.) SCULLY: Mulder? Mulder! (She sees a figure emerge from the fog.) Mulder? (The figure doesn't stop or acknowledge her, but simply keeps advancing toward her at a controlled pace. SCULLY doesn't like the looks of it. As the figure comes closer, she sees that it's SHADOWMAN. She turns and runs further into the Quarry. Scully runs until there is nowhere else to run.) (She hears SHADOWMAN approach and pulls her gun to face him.) SCULLY (to SHADOWMAN): Stop there! Stop right there! Why do you want to kill us?! SHADOWMAN: Mulder must die. Mulder or your son. SCULLY: What are you talking about? What does this have to do with my son? What's wrong with my son?! Answer me! (SHADOWMAN continues to advance toward her until he can walk no further. He is pulled to the ground. Black metallic oxidation appears on his skin, covering it; and he is pulled to the walls of the quarry where he disintegrates. Scully sees this, turns and runs.) SCENE #20: [ON THE COMPUTER] SCULLY (voice over): 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'm 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 glances down at WILLIAM, she reaches down to caress him. She sends the e-mail. "Your Mail Has Been Sent.") ========================== THE END ========================== [Captioning sponsored by Fox Broadcasting Company Twentieth Century Fox Television and toyota. Get the feeling. Captioned by media access group at wgbh access.Wgbh.Org ] For corrections / inaccuracies contact: steph@philedom2k.com Transcriptionist: intrepid (intrepidly002@yahoo.com) ========================== TELEVISION BEGINNING CREDITS ========================== Special Guest Star: TERRANCE QUINN Guest Starring: ALLISON SMITH STEVEN FLYNN (as THE NSA MAN) KATHRYN JOOSTEN (as AGENT EDIE BOAL) Music by: MARK SNOW Editor: SCOTT JAMES WALLACE Production Designer: COREY KAPLAN Director of Photography: BILL ROE, ASC Producer: TONY WHARMBY Supervising Producer: DAVID AMANN Supervising Producer: PAUL RABWIN Co-Executive Producer: KIM MANNERS Co-Executive Producer: MICHELLE MacLAREN Executive Producer: JOHN SHIBAN Executive Producer: VINCE GILLIGAN Executive Producer: FRANK SPOTNITZ Written by CHRIS CARTER & FRANK SPOTNITZ Directed by: TONY WHARMBY ========================== TELEVISION ENDING CREDITS ========================== Executive Producer: Chris Carter Ten Thirteen Productions (in associate with) 20th Century Fox Television (a news corporation company) Associate Producer: DENISE PLEUNE Executive Story editor: STEVEN MAEDA Story Editor: THOMAS SCHNAUZ Co-Starring: Station Manager: FITZ HOUSON Young Woman: BRIANNE PRATHER Baby William: JAMES RIKER / TRAVIS RIKER Casting by: RICK MILLIKAN, C.S.A. Unit Production Manager / Co-Producer: TIM SILVER First Assistant Director: STEPHEN BUCK Second Assistant Director: NINA JACK Visual Effects producer: MAT BECK Art Director: PHIL DAGORT Set Decorator: TIM STEPECK Assistant Set Decorator: RON FRANCO Leadman: DAVE NAPOLI Script Supervisor: CAROL BANKER Gaffer: JONO KOUZOUYAN Key grip: TOM DOHERTY Special Effects: BOB CALVERT Stunt Coordinator: DANNY WESELIS Visual Effects Supervisor: JOHN WASH Make-up Department head & Special make-up: CHERI MONTESANTO-MEDCALF Special Make-up: MATTHEW W. MUNGLE Hair Department Head: DENA GREEN Make-up for ms. Anderson: LAVERNE MUNROE Costumer for Ms. Anderson: NADINE HADERS Costume Designer: LUELLYN HARPER THOMAS Costumer Supervisors: ROBERT JACOBS / JENNIFER SOULAGES Property Master: TOM DAY Camera Operator: JIM ETHERIDGE Steadicam Operator: STEPHEN COLLINS Location Managers: ILT JONES / MAC GORDON / MICHELLE LATHAM Transportation Coordinator: STEVE DUNCAN Construction Coordinator: DUKE TOMASICK Sound Mixer: RON COGSWELL Playback Coordinator: MARK MARCUM Production Accountant: NANCI ETHCELLS Production Coordinator: JASON A. SCHOMAS Script Coordinator: MICHAEL DALEY Researcher: KATRINA CABRERA ORTEGA Writers' Assistant: GABE ROTTER Post Production Coordinator: JASON HARKINS Original Casting by: RANDY STONE, C.S.A. Casting Associate: KIMBERLY NORDLINGER Casting Assistant: ELISHA GRUER Extras Casting: CENTRAL CASTING & CENEX Second Unit Director of Photography: BOB LABONGE First Assistant Director: XOCHI BLYMYER Second Assistant Director: STACI LAMKIN BOGGERI Gaffer: DON BIXBY Key Grip: JOEY KRAFT Sound Mixer: GARY THOMAS Assistant Editors: DEBORAH CHALEW / JEFF CAHN Scoring Mixer: LAROLD REBHUN Music Editor: JEFF CHARBONNEAU DaVinci Colorist: ANTHONY R. SMITH Dallies Colorist: PETER RITTER On-Line Editors: KIP GIBSON / MARTY ROSENSTOCK Post Production Sound: WEST PRODUCTIONS, INC. Sound Supervisors: HARRY ANDRONIS / JOE JOHNSTON Re-Recording Mixers: DAVE WEST / HARRY ANDRONIS / SAM BLACK Montage Design: MIA SZAFRAN Vice-President, Ten Thirteen: MARY ASTADOURIAN Office Manager, Ten Thirteen: JANA FAIN Assistant to Chris Carter: BRAD FOLLMER Assistants to the Producers: SANDRA TRIPICCHIO / GENNIFER HUTCHISON / BLAKE MCCORMICK / GINGER WADLEY / STEPHANIE M. HERRERA Barcarolle (June) from Tchaikovsky's The Seasons: Arranged and performed by RICHARD GRAYSON Main Title Design by IMAGINARY FORCES Original Main Title Concept by: CASTLE / BRYANT / JOHNSEN Processing by DELUXE LABS Telecine & Electronic Assembly by HOLLYWOOD DIGITAL Presented in DOLBY SURROUND where available Camera Systems by PANAVISION This production has not been approved, endorsed, or authorized by the Federal Bureau of Investigation. Copyright (c) 2002 Twentieth Century Fox Film Corporation All rights reserved #9ABX08 Twentieth Century Fox Film Corporation is the author of this motion picture for purposes of copyright and other laws. The characters and events depicted in this photoplay are fictitious. Any similarity in actual persons, living or dead, is purely coincidental. Ownership of this motion picture is protected by copyright and other applicable laws, and any other unauthorized duplication, distribution or exhibition of this motion picture could result in criminal prosecution as well as civil liability.