"In writing fiction, the more fantastic the tale, the plainer the prose should be. Don't ask your readers to admire your words when you want them to believe your story." - Ben Bova [ more quotes ]

"X-FILES"

FIGHT THE FUTURE

by

Chris Carter

6/30/97



FADE IN:

EXT. SNOWSCAPE

A BLINDING WHITE SCREEN, under which we hear an ominous low
end Dolby THX Big Screen rumble. We're not in 19" television
land anymore, Toto. As the rumble builds, TWO BLACK FIGURES
appear on what now has resolved into a distant horizon. From
their movements we can shortly see that the figures are men.
Moving along a windswept ice sheet in an otherwise featureless
land.

A LEGEND appears: NORTH TEXAS, 35,000 B.C.

CLOSER ON THE TWO MEN

Continuing toward us, we can now see that they are dressed
in crude garments made of animal skins. If we squint we can
see their hair is long, their jutting foreheads significant
of primitive Homo Sapiens. They continue toward us, the wind
beating against them, CAMERA IS CRANING DOWN to the snow
that lies before them. To LARGE THREE-TOED TRACKS.

FOLLOWING THE PRIMITIVES

As they track the three-toed prints to a rocky crevice in
the hard-pack ice. The prints stop here, and so do the men.
Dropping down into the crevice in pursuit of their quarry.

CUT TO:

INT. ICE CAVE

Dark in here, except where the sunlight penetrates the thick,
glassy ice walls. The silhouettes of the Primitives stark
against the glistening cavern. The sound of flint being
struck, then A TORCH CATCHES FIRE, illuminating their faces.
And:

A CREATURE

Deeper in the cave. Fleeing the light and the men. We get
only a brief glimpse of it in the torch light, seeing that
it moves upright on two legs and has gray, dinosaur-like
skin. And large black eyes. But it moves quickly enough away
that any other identifying feature is lost in the deeper
shadows.

THE PRIMITIVES

Removing crude weapons made of sharpened bone from under
their thick fur garments, and scrabbling into the constricting
cavern, giving chase.

Following them as they moves with animal-like agility through
the tightening space. Predatory hunters. Their torchlight
catching:

THE CREATURE

As it disappears into a tight opening in a smaller crevice
leading off the main one. The Primitives entering frame after
a moment, only a few steps behind. The LEAD PRIMITIVE dropping
to the cave floor, pulling himself into this same tight
fissure in pursuit. Splitting off from his partner who exits
frame still on the run.

INT. SMALLER ICE CAVE - HIGH ANGLE DOWN

The fiery torch comes through first, held by the lead man.
Throwing dancing shadows on the walls of what appears to be
a box cavern.

CLOSE ON LEAD PRIMITIVE

Rising quickly to his feet. Not seeing what the torch
illuminates just behind him: The face of a dead Primitive
Man, his body frozen into the ice. He does finally notice
this, turning to see it, when he's ATTACKED VICIOUSLY FROM
BEHIND.

The torch falls to the floor so that the fight is difficult
to see, but it is loud and cruel. The creature squealing
wildly as the grunts of the Primitive now turn to the sounds
of painful struggle. Until:

THE SECOND PRIMITIVE MAN

Suddenly appears, driving his bone weapon into the body of
the Creature. Again and again, until the Creature is driven
away into the shadows.

The Second Man grabs the torch now, not to see if his hunting
mate has survived, but in pursuit of the Creature. In the
light we see that he and his weapon are covered with spatters
of OILY BLACK BLOOD. As is the First Primitive whose body
lies heaving on the floor.

The Second Primitive stepping over his hunting mate, stalking
the Creature into the shadows, where it has collapsed. The
torch finally landing, for the first time, on its face.

When the torchlight hits its face, the Creature attacks. But
the Primitive prevails. He drops his torch and dispatches
the already wounded Creature with strong hard stabs of his
weapon, one of which penetrates the Creature's eye.

LOW ANGLE ON THE DEAD CREATURE

The torch, which lies on the ground, illuminates the dead
creature's face. Its wounds are flowing with the oily black
blood, which, oddly now, BEGINS TO POOL. As if it has
intelligence, sentience. Pooling and traveling into a fissure
in the cave floor. And disappearing.

ANGLE ON THE SECOND PRIMITIVE

Watching this, unknowing. His chest heaving from the fight,
as the spots of Oily Black Blood which have spattered onto
him begin to crawl. Crawling toward his eyes and mouth.
Causing him to let out grunts of fear.

Which are the sounds we hear as the CAMERA SLOWLY CRANES UP
past the struggling Primitive to the roof of the cave, where
the dancing shadows of the torch FADE AWAY with the sounds
of struggle. Moving into darkness and silence. But only for
a moment. Until:

SUNSHINE BREAKS THROUGH THE ROOF OF THE CAVE - PRESENT DAY

Along with the spade of a shovel. And then -- the earthen
cave ceiling gives way and A BOY wearing Nikes and an old t-
shirt falls through it. Falling PAST CAMERA. We hear a YELL,
then a THUD, and a CLATTERING of the shovel that's fallen in
with him. Then a pained GASPING.

Then SEVERAL HEADS appear in the opening. These are BOYS of
ten to eleven, staring down into the cave. Hot sunlight
blazing in. We have traveled far, far forward in time.

2ND BOY
Hey, Stevie. You okay?

INT. CAVE - PRESENT DAY

THEIR POV OF STEVIE

On the floor below covered with dirt, in his nose and mouth.
Spitting out. (All these boys have Texas in their voices.)

STEVIE
I got... I got... I got...
(straining)
...the wind knocked out of me.

This draws no sympathy from above, only LAUGHTER.

THE BOYS UP ABOVE

Staring excitedly.

3RD BOY
Looks like a cave or something.

2ND BOY
What's down there, Stevie? Anything?

OVER THE BOYS ABOVE

Stevie has gotten up, moving out of the patch of sunlight.
Disappearing from view for a moment. Then reappearing, still
spitting out dirt. But holding:

STEVIE
Human skull.

One side partially missing from the cranium. But it brings
WHOOPS of delight from the boys above.

3RD BOY
Toss it up here, dude.

STEVIE
No way, buttwipe. I found it. It's
mine.

ANGLE UP ON STEVIE

The other boys looking down at him. Stevie looking at the
skull. Strangely, the light shines through it. It is milky,
opaque, as if it's bone that's turned somehow glassy in
places. Then:

STEVIE
Anyways, there's bones all over the
place down here.

Stevie looks down at his feet. CAMERA FOLLOWING HIS LOOK
DOWN to where there are indeed more human bones. And something
else. He takes a couple of steps in place, standing in a
familiar BLACK, OILY substance -- which is climbing up his
tennis shoe from the rock floor, over the edge of the shoe
and down into the shoe itself. Then the SKULL drops in the
frame, clattering on the hard floor of the cave.

CAMERA SLOWLY RISING UP FROM STEVIE'S SHOES

Following SUBCUTANEOUS WORMS which have begun locomoting
aggressively up his legs. As his whole body is WRACKED by a
shivering seizure of some kind.

CAMERA RISES, following the path of the worms as they move
up the legs of his shorts. Some appearing on his bare arms,
but the great majority continuing up to Stevie's neck, toward
his face. Stevie stands paralyzed. Letting out guttural sounds
not dissimilar to when the wind was knocked out of him.

3RD BOY (O.S.)
Hey, Stevie....

But Stevie cannot answer him. CAMERA CONTINUING UP to the
boys above. Looking down at their friend. Their eyes go wide.

2ND BOY
You okay?

But what they see next answers that question for them.

THEIR POV OF STEVIE

His face suddenly alive with the subcutaneous worms. Moving
toward his eyes which begin filling with BLACK OIL. Looking
much now like ALIEN EYES.

CLOSE ON THE BOYS ABOVE

Freaked by what they see. And doing what any kid would do
now.

3RD BOY
Hey, man. Let's get outta here.

And they do. Bolting from the hole in the top of the cave.
CAMERA PUSHING UP THROUGH THIS HOLE to REVEAL we are:

EXT. SMALL DIRT FIELD - NORTHERN TEXAS - DAY

In a dirt hole that was being dug by the three kids. RISING
UP out of the hole to REVEAL the parched dirt patch where
THREE KIDS are running away from us, as fast as their feet
will take them. Toward A NEW HOUSING TRACT (five floorplans
to choose from, including the model home.) Disappearing into
the neighborhood.

A LEGEND appears: NORTH TEXAS, 1998.

CAMERA CONTINUES RISING ABOVE THE ROOFTOPS to see the
surrounding expanse of empty Texas flatland. And in the
distance, the DALLAS SKYLINE.

As CAMERA SETTLES, there are a few moments of nothing but
the sound of the wind gently whistling across the landscape.
In which we bury a short TIME CUT.

EXT. NEIGHBORHOOD - NORTHERN TEXAS - DAY

Then we HEAR it, before we see it: FIRE ENGINES pulling into
the neighborhood, sirens WAILING. CAMERA DROPPING AGAIN as
the lead engine pulls up. FIREMEN are hopping off, moving to
the hole the boys dug.

LOW ANGLE UP FROM BELOW GROUND LEVEL, IN THE DUGOUT HOLE

TWO firemen carrying a ladder clamber down PAST CAMERA, THREE
OTHERS appearing on their heels. The other two firemen clamber
down, too. THE CAPTAIN at the edge of the hole watching them.
Holding a radio.

FIRE CAPTAIN
This is Captain Miles Cooles... we've
got a rescue situation in progress...

INT. CAVE - CONTINUOUS

As the LEAD FIREMAN steps down the ladder into the cave. He
scans the darkness, illuminated only by the shaft of light
permitted by the hole above. As the 2ND FIREMAN drops down
next to him. The both stand motionless now, as if sensing
something.

THEIR POV

Stevie's feet are just visible on the floor of the cave, a
short distance away.

RESUME FIREMEN - LOW ANGLE

They start cautiously toward Stevie. CAMERA FINDING their
feet. Tracking through the same OILY, BLACK SUBSTANCE we saw
bleeding from the creature thirty five thousand years ago.
As they move into the shadows, we HOLD ON THE SUBSTANCE...
and see it MOVE. It's alive.

TIME CUT TO:

EXT. DIRT FIELD - SHORT TIME LATER

CAMERA RISES out of the dirt hole, finds A GROUP OF NEIGHBORS:

Concerned PARENTS, KIDS, including Stevie's friends. They're
held at a distance by the remaining firemen. Everyone turning
their concerned gazes skyward. Looking at:

A MED-EVAC CHOPPER

Coming off the sun-setting horizon. Moving toward us at high
speed. The WHOP, WHOP of its blade soon shaking the
neighborhood as it banks in and around and hovers just over
the dirt field. Landing gently on the parched hard scrabble.

The side door flies open and FIVE HAZ-MAT RESCUE PARAMEDICS
jump out carrying a bubble litter. CAMERA PANS THEM to the
dirt hole past THE FIRE CAPTAIN. The Haz-Mat Paramedics moving
down into the hole. The Fire Captain watches this, then stares
toward --

DR. BEN BRONSCHWEIG (in shirtsleeves, tie), exiting the
chopper, following up the rear. The Captain meeting him in
route.

BRONSCHWEIG
(over the chopper)
Keep those people back. Get them out
of here.

FIRE CAPTAIN
(to his men)
Move them all back.
(dogging Bronschweig)
I sent four men down after the boy.
They're not responding.

Dr. Bronschweig's focus is elsewhere, though. He's making a
bee line to the earthen hole where young Stevie is being
pulled out and lifted into an enclosed QUARANTINE BUBBLE
LITTER by the rescue squad. Bronschweig watches with great
concern. Getting a good look now at Stevie's paralyzed body
as it passes him.

ANGLE ON CHOPPER

As Stevie's body is loaded aboard, the side door is slid
shut. The engine throttles up and the chopper takes flight
again, almost as quickly as it arrived. The prop wash blowing:

DR. BRONSCHWEIG

And the gathering crowd. Bronschweig watches the chopper
bank away, then turns his look to:

THE NEIGHBORHOOD

Where A SERIES OF UNMARKED CARGO VANS, TRUCKS are rolling
in. A fleet of vehicles, driven by what looks like MILITARY
PERSONNEL. Most conspicuously TWO WHITE UNMARKED TANKER
TRUCKS. (There are NO MARKINGS on these vehicles.)

RESUME BRONSCHWEIG

As the Fire Captain moves around to face him off.

FIRE CAPTAIN
What about my men?

DR. BRONSCHWEIG
(brusquely)
We're doing all we can.

And he moves off toward the approaching trucks where the
MILITARY PERSONNEL are pulling out tents, tent poles,
scientific equipment. Leaving the Captain to wonder what the
hell's going on. Watching the first of many REFRIGERATION
UNITS being unloaded. The personnel carrying it paying him
no mind as they blow past him. Moving RIGHT TO CAMERA and
plunging us into BLACK.

HOLD. Then OVER BLACK, a familiar sound again. The sound of
a chopper auguring in. As we FADE UP, revealing we are:

EXT. TOP OF A SKYSCRAPER - DAY

The chopper is banking over the side of the building,
preparing to touch down on the rooftop where FIFTEEN FBI
AGENTS in dark ID windbreakers are standing.

A LEGEND appears: FEDERAL BUILDING, DALLAS, TEXAS. ONE WEEK
LATER.

The chopper touches down and, again, the side door is thrown
open. But now only one man exits: SPECIAL AGENT IN CHARGE
(S.A.C.) DARIUS MICHAUD.

Michaud moves with the measured pace of authority, approaching
the waiting FBI Agents. One of whom steps up.

FBI AGENT
We've evacuated the building and
been through it bottom to top. No
trace of an explosive device or
anything resembling one.

S.A.C. MICHAUD
Have you taken the dogs through?

FBI AGENT
Yes, sir.

S.A.C. MICHAUD
Well, take them through again.

This is given as a non-negotiable order, to the somewhat
weary FBI man. Who turns back to his charges, Michaud does
not register this attitude, though. Something else has caught
his attention. Causing him to walk to the edge of the
building. CAMERA FOLLOWING HIM, seeing what he sees now.

On an adjacent skyscraper is what appears to be AN FBI AGENT
in an ID windbreaker exiting onto the roof. CAMERA CONTINUING
AROUND into A CLOSE UP PROFILE of S.A.C Michaud. Staring at
this, his jaw set. He doesn't like what he sees. And what he
sees is:

EXT. ROOFTOP OPPOSING SKYSCRAPER - DAY - CONTINUOUS

Special Agent Dana Scully is coming out the door leading
onto the roof. The door slams shut behind her. She, too, is
dressed in an FBI windbreaker. She's dialing her cell phone
as she moves around the rooftop looking for something. Dialing
the number of:

SCULLY
Mulder -- it's me --

MULDER (FILTER)
Where are you, Scully?

SCULLY
I'm on the roof.

MULDER
Did you find something?

SCULLY
(impatiently)
No. I haven't.

MULDER
What's wrong, Scully?

SCULLY
I've just climbed twelve floors. I'm
hot and thirsty and I'm wondering,
to be honest, what I'm doing here.

MULDER
You're looking for a bomb.

SCULLY
I know that. But the threat was called
in for the Federal Building across
the street.

MULDER
I think they have that covered.

WE ARE TRACKING WITH SCULLY.

SCULLY
(impatience)
Mulder... when a terrorist bomb threat
is called in, the logical purpose of
providing this information is to
allow us to find the bomb. The
rational object of terrorism is to
promote terror. If you'd study model
behavioral pattern in virtually every
case where a threat has turned up an
explosive device. If we don't act in
accordance with that data -- if you
ignore it as we have done -- the
chances are great that if here
actually is a bomb we might not find
it. Lives could be lost --

Scully, engrossed in her own argument, realizes she's been
the only one speaking for the last short while. She stops
walking.

SCULLY
Mulder...?

MULDER
What happened to playing a hunch?

Scully almost JUMPS out of her own skin. The voice has come
not over the phone, but from two feet away where:

ANGLE TO INCLUDE AGENT MULDER

Standing in the shadow of a large air conditioning unit.
Cracking a trademark sunflower seed between his teeth.
Clicking his cell phone off. Moving out.

SCULLY
Jesus, Mulder...

MULDER
The element of surprise, Scully.
Random acts of unpredictability. If
we fail to anticipate the unforeseen
or expect the unexpected in a universe
of infinite possibilities, we find
ourselves at the mercy of anyone or
anything that cannot be programmed,
categorized or easily referenced...

Mulder has moved to the edge of the building where he sails
his sunflower seeds into the air. Dusting his hands off as
if lost in a wistful through for just a moment.

MULDER
What are we doing up here? It's hotter
than hell.

And he's on the move. Scully moving to catch up.

NEW ANGLE

Mulder is moving toward the stairs, Scully catching him.
Mulder allowing her to lead him up the steps.

SCULLY
I know you're bored in this
assignment, but unconventional
thinking is only going to get you
into trouble now.

MULDER
How's that?

SCULLY
You've got to quit looking for what
isn't there. They've closed the X-
Files. There's procedure to be
followed here. Protocol.

MULDER
What do you say we call in a bomb
threat for Houston. I think it's
free beer night at the Astrodome.

Scully gives him a look. It's no use. She reaches the door
first, grabs the knob but... it won't open. Turning to Mulder.

SCULLY
Now what?

MULDER
(suddenly nervous)
It's locked?

She wiggles the knob again.

SCULLY
So much for anticipating the
unforeseen...

Scully squints into the sun, staring at Mulder. But he's
quick on the draw, and realizes what she's up to. He grabs
for the door and... it opens. Looking to Scully whose hard
look of mock-scolding has become a smirking smile.

SCULLY
Had you.

MULDER
No you didn't.

SCULLY
Oh yeah. Had you big time.

And that's how it continues as they re-enter the stairwell,
the door slamming shut behind them.

CUT TO:

INT. BUILDING LOBBY - DAY

As an elevator DINGS and the doors open. Scully and Mulder
exit into the lobby where people move in and out. Heads turn
due to their FBI jackets. (Included atmosphere: a GROUP OF
KIDS on a field trip, being led into an elevator by THEIR
TEACHER.)

SCULLY
I saw your face, Mulder. There was a
moment of panic.

MULDER
Panic? Have you ever seen me panic,
Scully?

SCULLY
I just did. You're buying.

Mulder fishes for change, but more out of sportsmanship.

MULDER
Alright... what'll it be: Coke, Pepsi?
A saline IV?

SCULLY
Something sweet.

Scully flashes a thin victory smile, as Mulder heads off.

INT. HALLWAY OUTSIDE VENDING MACHINE ROOM - CONTINUOUS

Mulder moving to a door with a small shingle above it which
says SNACKS/BEVERAGES. As he approaches, sorting through the
change he's fished up, the door opens and A MAN IN A VENDOR'S
UNIFORM appears. He makes casual and ever-so-brief eye contact
with Mulder as he brushes past him. Mulder making no note of
this as he moves to catch the door before it closes.

CUT TO:

INT. SNACK AREA AND SODA VENDING MACHINE ROOM - DAY

Mulder takes a few steps down into the windowless room. Moving
past the snack machines to a LIGHTED soda machine.

Finding the correct change and plunking it in. Hitting a
button, but... nothing comes out.

MULDER
Oh, come on.

He beats his fist a couple of times on the front of the
machine.

Nothing. He finds more change. Plunking it in. Hits the
button. Nothing. He stares at the machine a minute, then
BEATS IT HARD with his fist. Nothing.

Moving around to the back of the machine, looking for:

ANGLE ACROSS BACK OF MACHINE

Mulder's face peering in on the slim space between the machine
and the wall. Reaching down and lifting the PLUG on the end
of the electrical cord. It isn't plugged in. Realizing now
why the machine hasn't spit out his sodas.

RESUME FRONT ANGLE ON MACHINE

As Mulder appears, stepping very lightly in front of the
machine that he was just pounding away on. Looking at it,
then moving quickly to the door he entered through. Grasping
the knob, but finding it... LOCKED. He jiggles the knob,
pulls on it. But there's no two ways about it, he's locked
in.

CUT TO:

INT. BUILDING LOBBY - DAY

Scully stands looking at her watch. Wondering where Mulder
is. When her CELL PHONE starts ringing. She answers it.

SCULLY
Scully...

MULDER
Scully, I found the bomb.

SCULLY
(thinks he's joking)
Where are you, Mulder?

MULDER
I'm in the vending room.

Scully is on the move, but she doesn't believe him for a
second.

INT. HALLWAY OUTSIDE VENDING MACHINE ROOM - CONTINUOUS

Scully appears, heard A POUNDING. Following this noise to
the door Mulder is obviously on the other side of. Tries the
door.

SCULLY
Is that you pounding?

INT. SNACK AND SODA VENDING MACHINE ROOM - DAY

Mulder holds his phone to his ear, using his other hand to
pound.

MULDER
Scully, get somebody to open this
door.

SCULLY (FILTER)
Nice try, Mulder.

CAMERA FOLLOWING MULDER as he steps back, revealing now that
he's gotten the hinged front of the coke machine open. But
we can't yet see what's inside.

MULDER
Scully -- listen to me. It's in the
coke machine. You've got about
fourteen minutes to get this building
evacuated.

INT. HALLWAY OUTSIDE VENDING MACHINE ROOM - CONTINUOUS

Scully is shaking her head. Tries the door again.

SCULLY
C'mon. Open the door.

His response to this is MORE HARD POUNDING.

SCULLY
Mulder? Tell me this is a joke.

MULDER
Thirteen fifty nine, thirteen fifty
eight, thirteen fifty seven...

As he is doing this, Scully is bending to see:

THE KEYHOLE

It's been freshly soldered over.

INT. SNACK AND SODA VENDING MACHINE ROOM - DAY

Mulder stands pacing in front of:

AN ELABORATELY ENGINEERED EXPLOSIVE DEVICE

Wired with circuit boards, electric belts and generally
looking like it would take an expert a good long time to
figure out where to even start. A lot longer than the 13:58
that reads on the digital read-out.

MULDER
...thirteen fifty six...

SCULLY
Hang on. I'm gonna get you out of
there.

The line goes dead. And off Mulder's deepening anxiety, we:

CUT TO:

INT. BUILDING LOBBY - DAY

Scully enters like General Patton, taking charge. Barking at
the security guards who sit behind their security console.

SCULLY
I need this building evacuated and
cleared out in ten minutes! I need
you to get on the phone and tell the
fire department to block off the
city center in one mile radius around
the building --

SECURITY GUARD
In ten minutes...?!

SCULLY
DON'T THINK! JUST PICK UP THE PHONE
AND MAKE IT HAPPEN!

And she's moving, dialing her cell phone now.

SCULLY
(into phone)
This is Special Agent Dana Scully. I
need to speak to S.A.C. Michaud.
He's got the wrong building --

CUT TO:

EXT. BUILDING - DAY

UNMARKED FBI VANS, CARS are pulling up out front. Agents in
windbreakers are exiting, moving at a run to the building.
Among them S.A.C. Darius Michaud. Moving

TO:

ANGLE ON SCULLY

Exiting the building. Behind her, WORKERS are beginning to
stream out of the building, as well as the young FIELD
TRIPPERS. Michaud meeting up with Scully mid-plaza. As the
windbreaker Agents move past them, entering the building.

S.A.C. MICHAUD
Where is it?

MOVING WITH THEM now, back toward the building. As FIRE TRUCKS
are pulling up out in the street out front. Suddenly this
has the distinct feel of a situation veering out of control.

SCULLY
Mulder found it in a vending machine.
He's locked in with it.

CUT TO:

INT. SNACK AND VENDING MACHINE ROOM - DAY

THE DIGITAL READ OUT hits 7:00. Pull back to REVEAL MULDER
staring at it. If he wasn't sweating enough on the roof,
he's certainly sweating now. When his cell phone RINGS.
Answering it.

MULDER
Scully?

SCULLY
Mulder. Move away from the door.
We're coming through it.

No sooner is this said than the CAMERA WHIPS OFF MULDER to
the door, where A GAS PLASMA TORCH FLAME is sizzling along
the hinges.

CUT TO:

INT. HALLWAY OUTSIDE VENDING MACHINE ROOM - CONTINUOUS

Where Michaud himself, wearing a Kevlar vest now, is wielding
the torch. Expertly cutting the metal while Scully and TWO
AGENTS and TWO DALLAS BOMB SQUAD men look on. In the b.g.
BUILDING EMPLOYEES are streaming out. Michaud finishes and
shuts off the torch. Yelling:

S.A.C. MICHAUD
Go.

The other Agents kick the metal door in sending it crashing
to the floor. Mulder stands on the other side. Watching
Michaud pick up a heft tool kit, stepping over the downed
door.

Scully right behind him. Along with the Agents, Bomb techs.

ANGLE OVER MULDER AND THE SODA MACHINE/BOMB

As Michaud steps in next to him, sizing up the time on the
ticking digital readout: 4:07. And just exactly what kind of
defusing work he's got cut out for him.

MULDER
Tell me this is just soda pop in
those canisters.

S.A.C. MICHAUD
No. It's what it looks like. A big
I.E.D. -- ten gallons of astrolite.
(studying the bomb)
Okay, get everybody out of here and
clear the building.

MULDER
Somebody's got to stay with you --

S.A.C. MICHAUD
I gave you an order. Now get the
hell out of here and evacuate the
area.

SCULLY
Can you defuse it?

Setting his tool kit down, opening it. As the other Agents
heed his word, exiting the room.

S.A.C. MICHAUD
I think so.

MULDER
You've got about four minutes to
find out if you're wrong.

Michaud turns on him with unexpected intensity.

S.A.C. MICHAUD
Did you hear what I said?

SCULLY
Let's go, Mulder.

Scully starts out. Mulder stares at Michaud for a moment,
but Michaud's focus is on the bomb now. He won't meet Mulder's
look. Finally Mulder moves off, following Scully.

CAMERA HOLDS ON MICHAUD, just staring at the bomb. Just
staring.

CUT TO:

EXT. PLAZA OUTSIDE BOMB BUILDING - DAY - CONTINUOUS

The last of the building occupants are being hauled off in
CITY BUSES which have moved in curbside. As these buses pull
away, so do the fire trucks that have positioned themselves
out front. And the police squad cars. As Mulder and Scully
exit the front door. Moving quickly, until Mulder hits mid-
plaza and slows. Scully not realizing this for a few steps,
then turning.

SCULLY
What are you doing?
(off his non-response)
Mulder --

One last windbreakered Agent is exiting. Moving past them to
the last cop car other than the car waiting for Mulder and
Scully.

LAST AGENT OUT
All clear.

Mulder has stopped and is looking back to the building now
as Scully hustles back the few steps separating them.

MULDER
Something's wrong.

ANGLE OVER THEM TO THE WAITING CAR

As the Last Agent Out's car zooms away. Leaving only their
car and the man driving it: a WINDBREAKERED AGENT.

WINDBREAKERED AGENT
What's he doing?

The plaza is desolate now, void of life.

MULDER
Something's not right...

SCULLY
-- Mulder! Get in the car!

Scully is pulling him now. Pulling him toward the car and
the obviously impatient Windbreakered Agent.

SCULLY
There's no time!

CUT TO:

INT. SNACK AND SODA VENDING MACHINE ROOM - DAY

CLOSE ON BOMB. The seconds ticking off now, as it passes the
:30 mark. CAMERA PULLING BACK, ADJUSTING to Michaud. His
tool chest is closed up, and he is sitting on it improbably.
Still staring at the bomb, then pulling his head down in
what appears to be resignation. As the seconds tick away.

CUT BACK TO:

EXT. PLAZA OUTSIDE BOMB BUILDING - DAY - CONTINUOUS

Mulder has relented now, against his better instincts. Moving
with Scully to the car, faster as they go. The Windbreaker
Agent standing in the open door of the driver's side. Getting
in behind the wheel...

CUT BACK TO:

INT. VENDING MACHINE ROOM - CONTINUOUS

S.A.C. MICHAUD

Sitting motionless in front of the bomb as the seconds tick
down. 8-7-6-5-4-3-2-1- --

HARD CUT BACK TO:

EXT. PLAZA OUTSIDE BOMB BUILDING - DAY - CONTINUOUS

Mulder and Scully getting in the car. TRACKING BACKWARDS
with them now as the Agent driving pulls away, getting only
thirty, maybe forty yards when: the BOMB DETONATES and the
building EXPLODES. And this is no fatwa symbolic little terror
strike. This is Oklahoma City. Or do we say, Independence
Day.

REVERSE ANGLE ON CAR

As all the windows blow out and the car is lifted up, slamming
into the corner of a parked car. The air so quickly full of
debris that it would seem the whole city has been destroyed.

RESUME BUILDING

As the debris starts to clear somewhat, much of it still
floating to the ground, though. We see the fires raging on
every floor. That most of the front of the building has been
torn away and we can see right into many floors.

RESUME ANGLE ON CAR

Where it sits half cocked against a parked car. The air is
full of debris, particulated matter. The rear door of the
squad car opens now and Mulder gets out, covered with glass.
Moving to the front passenger door, opening it for Scully.

MULDER
(with darkest irony)
Next time you're buying.

EXT. AERIAL SHOT OF WASHINGTON D.C. - DAY

HIGH ABOVE the U.S. capital, the entire beltway. With a
LEGEND, to establish.

LOWER AND TIGHTER NOW

On the J. Edgar Hoover Building, FBI Headquarters. Descending
low on the three-sided monolith and its large interior
courtyard. As another LEGEND appears, under:

WOMAN'S VOICE (V.O.)
In light of Waco, and Ruby Ridge...

CUT TO:

INT. FBI OFFICE OF PROFESSIONAL REVIEW - DAY

A formal hearing. Several ASSISTANT DIRECTORS sit at a head
table, going over documents. NAME PLACECARDS in front of
them.

PANNING the group, the sound of papers shuffling, the
occasional clearing of a throat creating a stale air of
importance, under:

WOMAN'S VOICE (V.O.)
...there is a heightened need at the
Attorney General's office to place
responsibility as early as possible.

CAMERA LANDING ON ASSISTANT DIRECTOR JANA CASSIDY

A no-nonsense 40 year-old lawyer cum FBI Agent.

CASSIDY
...for the catastrophic destruction
of public property and the loss of
life due to terrorist activities...

Next to Cassidy is Assistant Director WALTER SKINNER, Mulder
and Scully's former superior on the X-Files. Looking ruefully
at:

AGENT SCULLY

At a small table, the chair next to her conspicuously empty.

CASSIDY
Many details are still unclear; some
agents' reports have not been filed,
or have come in sketchy, without a
satisfactory accounting of the events
that led to the destruction in Dallas.
But we're under some pressure to
give an accurate picture of what
happened to the Attorney General, so
she can issue a public statement.

The door to the room opens behind Scully now, and Mulder
enters, his manner that of a man who knows he's late to a
function.

RESUME A.D. CASSIDY

She looks up at Mulder and Scully with a stern glare.

CASSIDY
We now know that five people died in
the explosion. Special Agent in Charge
Darius Michaud who was trying to
defuse the bomb that had been hidden
in a vending machine. Three firemen
from Dallas, and a young boy.

OVER MULDER AND SCULLY

Mulder pulls out his chair to sit down, but remains standing.
They trade a look. This is new news to them.

MULDER
Excuse me -- the firemen and the boy --
they were in the building?

CASSIDY
Agent Mulder, since you weren't able
to be on time for this hearing, I'm
going to ask you to step outside so
that we can get Agent Scully's version
of the facts. So that she won't have
to be paid the same disrespect.

MULDER
We were told the building was clear.

CASSIDY
You'll get your turn, Agent Mulder.
Please step out.

Mulder trades looks with:

A.D. SKINNER

Who stares at him evenly, but not unsympathetically. He's
been here with Mulder on many occasions. Seen Mulder run up
against the Bureau and its stiff conventions. Always in the
middle.

MULDER
It does say there in your paperwork
that we were the ones who found the
bomb...

CASSIDY
Thank you, Agent Mulder. We'll call
you in shortly.

RESUME MULDER, SCULLY

As Mulder slides his chair in. Scully watching him exit.

CUT TO:

INT. HALLWAY OUTSIDE OPR HEARING ROOM - DAY

Mulder sits by himself in a chair, head down. When the door
to the hearing room opens. Mulder rising as A.D. Skinner
exits.

SKINNER
Sit down, they're still talking to
Agent Scully.

MULDER
About what?

SKINNER
-- They're asking her for a narrative.
They want to know why she was in the
wrong building.

MULDER
She was with me.

Skinner studies Mulder, shaking his head.

SKINNER
You don't see what's going on here,
do you?
(off Mulder's look)
There's four hundred million dollars
in damage to the city of Dallas.
Lives have been lost. No suspects
have been named. So the story being
shaped is this could have been
prevented. That the FBI didn't do
its job.

MULDER
And they want to blame us?

SKINNER
Agent Mulder -- we both know that if
you and Agent Scully hadn't taken
the initiative to search the adjacent
building, you could have multiplied
the fatalities by a hundred --

MULDER
(grasping the irony)
But it's not the lives we saved.
It's the lives we didn't.

SKINNER
(reciting the dictum)
-- if it looks bad, it's bad for the
FBI --

MULDER
-- if they want someone to blame,
they can blame me. Agent Scully
doesn't deserve this.

SKINNER
She's in there right now saying the
same thing about you.

MULDER
I breached protocol. I broke contact
with the S.A.C. I ignored a primary
tactical rule and left him alone
with the device.

SKINNER
Agent Scully says it was she who
ordered you out of the building.
That you wanted to go back.

Mulder doesn't get to respond, because the door opens again
and Agent Scully exits. She looks like she's been through
it.

SCULLY
(to Skinner)
They're asking for you, Sir.

Skinner gives one last look to Mulder, then re-enters. Leaving
Mulder and Scully alone. Scully wearing a pained look.

MULDER
Whatever you told them in there, you
don't have to protect me.

SCULLY
All I told them was the truth.

MULDER
They're trying to divide us on this,
Scully. We can't let them.

SCULLY
They have divided us, Mulder. They're
splitting us up.

MULDER
(beat)
What? What are you talking about?

SCULLY
I meet with the OPR day after tomorrow
for remediation and reassignment...

MULDER
Why?

SCULLY
I think you must have an idea. They
cited a history of problems relating
back to 1993.

MULDER
They were the ones that put us
together.

SCULLY
Because they wanted me to invalidate
your work, your investigations into
the paranormal. But I think this
goes deeper than that.

MULDER
This isn't about you, Scully. They're
doing this to me.

SCULLY
They're not doing this, Mulder.
(off his look)
I left behind a career in medicine
because I thought I might make a
difference at the FBI. When they
recruited me they told me women made
up nine percent of the bureau. I
felt this was not an impediment, but
an opportunity to distinguish myself.
But it hasn't turned out that way.
And now, if I were to be transferred
to Omaha, or Wichita or some field
office where I'm sure I could rise,
it just doesn't hold the interest
for me it once did. Not after what
I've seen and done.

MULDER
You're... quitting?

SCULLY
There's really no reason left for me
to stay anymore.
(off his look)
Maybe you should ask yourself if
your heart's still in it, too.

The door opens to the hearing room again now. A.D. Skinner
steps part way out, gesturing to him.

SKINNER
Agent Mulder. You're up.

SCULLY
(regretfully)
I'm sorry. Good luck.

Mulder rises. Scully studying his poorly disguised hurt.
Before he turns and goes into the room.

Scully watching the door close behind him. Her feelings poorly
disguised, too.

CUT TO:

INT. DOWNSCALE D.C. BAR - NIGHT

CLOSE ON A SHOOTER OF TEQUILA being poured. CAMERA ADJUSTING
to reveal the ATTRACTIVE BARMAID tipping the bottle. Pushing
it across the bar to where TWO EMPTY SHOOTERS sit, making
the exchange.

BARMAID
I'd say this about exceeds your
minimum daily requirement.

The person she's talking to us:

MULDER

He sits by himself on a stool, staring down at the bar.
Staring at the shooter which he spins with his fingers.

BARMAID
Gotta train for this kind of heavy
lifting.

Mulder tosses back the shooter anyway. She watches him as
she retrieves the small shot glass, intrigued by his dark
silence.

BARMAID
Poopy day?

MULDER
Yup.

BARMAID
A woman?
(Mulder shakes his
head no)
Work.

Mulder nods, pointing to the tequila bottle again. The Barmaid
agrees to pour another one, reluctantly.

ANGLE OVER TO A MAN AT THE END OF THE BAR

Staring at Mulder intently. He's older than Mulder, dressed
in an old Brooke Brothers light summer suit. Mulder notices
him, feels his gaze, but doesn't give it thought.

RESUME BARMAID, MULDER

BARMAID
What do you do?

MULDER
What do I do.
(off her curious look)
I'm a key figure in an ongoing
government charade. An annoyance to
my superiors. A joke among my peers.
"Spooky," they call me. Spooky Mulder.
Whose sister was abducted by aliens
when he was a kid. Who now chases
little green men with a badge and a
gun, shouting to the heavens and
anyone who'll listen that the fix is
in. That our government's hip to the
truth and a part of the conspiracy.
That the sky is falling and when it
hits it's gonna be the shitstorm of
all time.

She stares at him for a moment, startled by his drunken
screed. She pulls back the shooter she's just poured Mulder.

BARMAID
I think that about does it, Spooky.

MULDER
Does what?

BARMAID
Why don't you go home to the old
lady --

MULDER
Sorry. Don't have one.

Mulder slides off his stool, noticing:

MULDER'S POV

The Watchful Man is gone.

RESUME MULDER

He feints toward the door, then reverses direction. Heads to
the back of the place.

INT. REAR OF DOWNSCALE BAR - NIGHT - CONTINUOUS

Mulder appears, moving to the bathroom door. Only to find an
OUT OF ORDER sign on it. He moves to the woman's room, but
it's locked. Gathering what's left of his wits, Mulder does
what any red-blooded man would do in this situation. He goes
to the back door of the bar and exits into the alley.

EXT. ALLEY BEHIND BAR - NIGHT

Mulder has found a place against a wall, between two
dumpsters. Jerking around in surprise at the sound of a VOICE.

WATCHFUL MAN'S VOICE
That official FBI business?

MULDER
(startled)
What?

ANGLE TO INCLUDE THE MAN FROM THE BAR

He's not far from Mulder. His name is KURTZWEIL.

KURTZWEIL
Bet the Bureau's accusing you of the
same thing in Dallas.

Mulder's weirded out as the stranger moves to him un-
threateningly.

MULDER
How's that?

KURTZWEIL
Standing around holding your yank
while bombs are exploding.

Kurtzweil enjoys a little laugh over this.

MULDER
Do I know you?

KURTZWEIL
No. I've been watching your career
for a good while. Back when you were
just a promising young agent -- before
that.

Mulder stares at this man as he finishes, zipping up.

MULDER
You follow me out here for a reason?

KURTZWEIL
Yeah, I did.

Kurtzweil unzips his own pants now. There is a moment; one
of those awkward moments where Mulder's not sure what's about
to happen. But Kurtzweil's just relieving himself, too.
Shuffling up to the wall, Mulder takes this as an opportunity
to head back toward the bar. But Kurtzweil hails him again.

KURTZWEIL
My name's Kurtzweil. Dr. Alvin
Kurtzweil.

MULDER
I know the name. Why?

KURTZWEIL
Old friend of your father's.

Kurtzweil continues peeing. Knows this got Mulder's attention.

KURTZWEIL
Back at the Department of State. We
were what you might call fellow
travelers, but his disenchantment
outlasted mine.
(beat)
I never believed in the Project.

Mulder stares at Kurtzweil now. He's being toyed with. He
turns, opens the door into the bar. As Kurtzweil gets a little
louder.

KURTZWEIL
Oh, come on. Don't pretend you don't
know about the Project. Your father
died for it. Your sister was taken
because of it.

Kurtzweil finishes nature's call. Zips up. Heads after Mulder.

CUT TO:

INT. DOWNSCALE D.C. BAR - NIGHT

Mulder is coming from the back. Kurtzweil moving to catch
up. And he does, at the coat stand. The place has pretty
much cleared out, except for the Barmaid and some help.

MULDER
How'd you find me?

KURTZWEIL
Heard you come here now and again.
Figured you'd be needing a little
drinky tonight.

MULDER
You a reporter?

KURTZWEIL
I'm a doctor, but I think I mentioned
that. OB-GYN.

MULDER
Who sent you?

KURTZWEIL
I came on my own. After reading about
the bombing in Dallas.

MULDER
Well, if you've got something to
tell me, you've got as long as it
takes me to hail a cab...

Mulder starts out the door, but Kurtzweil grabs his arm.

KURTZWEIL
They're going to pin Dallas on you,
Agent Mulder. But there was nothing
you could've done. Nothing anyone
could've done to prevent that bomb
from going off. Because the truth is
something you'd never have guessed;
never have predicted.

Mulder pulls away from Kurtzweil, but Kurtzweil dogs him to:

EXT. STREET OUTSIDE DOWNSCALE BAR - NIGHT

The street is empty, the hour is late. Mulder moves to the
curb.

MULDER
And what's that?

KURTZWEIL
S.A.C. Darius Michaud never tried or
intended to defuse the bomb.

MULDER
(rhetorical disbelief)
He just let it explode.

KURTZWEIL
What's the question nobody's asking?
Why that building? Why not the Federal
Building?

MULDER
The Federal Building was too well
guarded.

KURTZWEIL
No. They put the bomb in the building
across the street because it DID
have federal offices. The Federal
Emergency Management Agency had a
provisional medical quarantine office
there. Which is where the bodies
were found. But that's the thing...

Mulder's got his hand up for a taxi coming. It's pulling
over as Mulder steps from the curb, stepping away from
Kurtzweil.

KURTZWEIL
...the thing you didn't know. That
you'd never think to check.

Mulder's got the taxi door open, turning to Kurtzweil.

KURTZWEIL
Those people were already dead.

MULDER
Before the bomb went off?

KURTZWEIL
That's what I'm saying.

Mulder stares at Kurtzweil for a moment.

MULDER
Michaud was a twenty-two year veteran
of the bureau --

KURTZWEIL
Michaud was a patriot. The men he's
loyal to know their way around Dallas.
They blew that building to hide
something. Maybe something even they
couldn't predict.

MULDER
You're saying they destroyed an entire
building to hide the bodies of three
firemen...?

KURTZWEIL
And one little boy.

Mulder gets in the cab, closes the door. Rolls down the
window.

MULDER
I think you're full of shit.

KURTZWEIL
Do you?

Kurtzweil raps the top of the roof and steps away from the
car. As the taxi takes off. WE STAY WITH KURTZWEIL, watching
Mulder's cab speed away. (NOTE: This should also be covered
from inside the cab with Mulder, to play the scene out on
him.)

CUT TO:

INT. AGENT SCULLY'S BEDROOM - NIGHT

Scully is in bed, lying awake. Staring at the ceiling. When
she reacts to a POUNDING AT HER DOOR.

CUT TO:

INT. SCULLY'S APARTMENT - NIGHT

CLOSE ON THE FRONT DOOR. Scully peeks in the peephole. Then
she removes the safety chain, opening the door.

MULDER
(strangely intense)
I wake you?

SCULLY
No.

MULDER
Why not? It's three AM.

Scully gets a whiff of his breath. As he moves past her into
the apartment. Radiating a kind of manic intensity.

SCULLY
Are you drunk, Mulder?

MULDER
I was until about an hour ago.

SCULLY
Is that before or after you got the
idea to come here?

Mulder looks at her curiously.

MULDER
What are you implying, Scully?

SCULLY
(frowning)
I thought you may have gotten drunk
and decided to come here to talk me
out of quitting.

MULDER
Is that what you'd like me to do?

Scully hesitates. Long enough to indicate her own wavering
heart.

SCULLY
Go home, Mulder. It's late.

MULDER
Get dressed, Scully.

SCULLY
Mulder -- what are you doing?

MULDER
Just get dressed. I'll explain on
the way.

CUT TO:

EXT. TEXAS FLATLAND - NIGHT

The moon is rising over the horizon, across the curvilinear
distance of endless scrub and sagebrush. When FLYING OBJECTS
cross between it and us, their forms unidentifiable in the
rising heat waves off the earth. But they are moving towards
us, SILHOUETTES in the background of the moon.

They move silently, their size INCREASING as they move closer.
And then we hear them, moments before they arrive at our
position, UNMARKED HELICOPTERS just overhead. Hugging the
ground as they blast across the dark Texas night.

INT. UNMARKED BLACK HELICOPTERS - NIGHT

Flying at dangerously low altitude over the almost featureless
night landscape. Heading for something that we see ahead in
the distance. What looks like a LARGE GLOWING DOME surrounded
by the lights of a residential area we've already seen, on
the edge of suburban Dallas sprawl.

CUT TO:

EXT. SMALL DIRT FIELD - CENTRAL TEXAS - NIGHT

The field where the kids had been digging has been transformed
into some kind of worksite.

A LARGE WHITE DOMED TENT has been erected over almost the
entire patch of ground, surrounded by the CARGO TRUCKS that
we saw earlier, and more unmarked vans and trucks. There are
men in black fatigues moving about, and scientists in haz-
mat suits.

As the UNMARKED BLACK HELICOPTERS bank overhead. Coming in
for a landing in the glow cast from the tents. CAMERA MOVING
TOWARD one of the helicopters as it lightly touches down and
its black door swings open. A man stepping out, and as CAMERA
PUSHES UP INTO HIS FACE we recognize him as The Cigarette
Smoking Man.

The figure that we've come to know as an assassin and a model
of modern self-interest and amorality. One of the central
protagonists in the conspiracy to keep the truth from the
American people about the existence of extraterrestrial life.

Something known only as: "The Project."

He walks out from under the whirring prop, just far enough
to get a flame from his lighter, to get a cigarette lit. As
we:

CUT TO:

INT. LARGE WHITE TENT - NIGHT - CONTINUOUS

A SCIENTIST in a haz-mat suit is moving through the maze of
clear plastic tubing that divides work areas within the tent.
Areas where scientists are working at tables doing what
appears to be some kind of high-tech archeological work. It
is a hive of activity within, as the Scientist leads us past
the REFRIGERATION UNITS to the earthen hole where Dr.
Bronschweig (we've met him earlier, coming out of a med-evac
chopper that landed when the tent city was erected) appears
out of the earthen hole, which is reason for all this
excitement. Climbing out A CLEAR HATCH which has been
fashioned to cover the hole. Seeing:

THE CIGARETTE SMOKING MAN

Now suited up himself. Bronschweig approaches him.

CIGARETTE SMOKING MAN
You've got something to show me.

DR. BRONSCHWEIG
(nervous excitement)
Yes.

CUT TO:

INT. ICE CAVE - CONTINUOUS

What we originally established as icy, and what later became
the unfrozen Texas field where the boys discovered the human
skull, has been turned to its previously icy state. Thanks
to two large vents that Dr. Bronschweig is pointing at:

DR. BRONSCHWEIG
We brought the atmosphere back down
to freezing in order to control the
development, which is nothing like
we've ever seen.

CIGARETTE SMOKING MAN
Brought on by what?

DR. BRONSCHWEIG
Heat, I think. The coincident invasion
of a host, the fireman, and an
environment that raised his basic
body temperature above ninety eight
point six.

They step over to a section of the cave which has been draped
with more plastic, the lights from inside this are giving
off a cool blue light (passing by TWO PORTABLE DRILLING RIGS
which have been erected, their pumps moving up and down like
rocking horses.) Bronschweig pushes away the plastic,
revealing A MAN lying on a gurney draped in plastic. He is
hooked up to various and sundry machines which are monitoring
his life signs.

His skin has turned almost translucent, the veins and
capillaries now clearly visible, as is his pulse. His
heartbeat sending life-sustaining blood and energy through
his body.

CIGARETTE SMOKING MAN
This man's still alive.

DR. BRONSCHWEIG
Technically and biologically, though
he'll never recover.

The CSM is shaking his head in nervous, uneasy wonder.

CIGARETTE SMOKING MAN
How can this be?

DR. BRONSCHWEIG
The developing organism is using his
life energy, digesting bone and
tissue. We've just slowed the process.

Bronschweig redirects a light so that it shines hard into
the man's face and; then we see it. Movement.

CLOSE ON MAN'S FACE

Though the man's eyes still blink occasionally, we can
actually see through his tissue and the bones in his skull
to see something IS LIVING INSIDE HIM.

ANGLE UP ON CSM AND BRONSCHWEIG

The Cigarette Smoking Man's mind is working intently on all
the possibilities, and consequences.

DR. BRONSCHWEIG
Do you want me to destroy this one,
too? Before it gestates?

CIGARETTE SMOKING MAN
No. No... we need to try our vaccine
on it.

DR. BRONSCHWEIG
And if it's unsuccessful?

CIGARETTE SMOKING MAN
Incinerate it. Like the others.

DR. BRONSCHWEIG
This man's family will want to see
the body laid to rest.

CIGARETTE SMOKING MAN
Tell them he was trying to save the
young boy's life, and that he died
heroically like the other firemen.

DR. BRONSCHWEIG
Of what?

CIGARETTE SMOKING MAN
They seemed to buy our story about
the Hanta virus. You'll make sure
the families are taken care of
financially, along with a sizeable
donation to the community.
(beat)
Maybe a small roadside memorial.

He watches the CSM exit, then back to the prostrate fireman.

CLOSE ON PROSTRATE FIREMAN

There is more movement within his body. Within his chest and
neck, as if the creature gestating inside is continuing to
stretch and grow. So that now we can see one of its BLACK
EYES staring from through the clear flesh of the fireman. An
eye which BLINKS at us. As we:

CUT TO:

INT. BETHESDA NAVAL HOSPITAL - NIGHT

Mulder and Scully appear at the end of a long hall. Moving
TOWARD CAMERA where a YOUNG NAVAL GUARD sits in f.g. As a
LEGEND appears, to establish.

Mulder and Scully moving the long distance to the Guard's
station. Where the Guard looks up at them with military
scrutiny.

YOUNG NAVAL GUARD
ID and floor you're visiting.

They both show their FBI IDs.

MULDER
We're going to the morgue.

YOUNG NAVAL GUARD
That area is currently off limits to
anyone other than authorized medical
personnel.

MULDER
On whose orders?

YOUNG NAVAL GUARD
General McAddie's.

Mulder doesn't miss a beat.

MULDER
General McAddie is who requested our
coming here. We were awakened at
three AM and told to get down here
immediately.

YOUNG NAVAL GUARD
I don't know anything about that.

MULDER
Well, call General McAddie.

YOUNG NAVAL GUARD
I don't have his number.

MULDER
They can patch you in through the
switchboard.

The Guard is nervous about this, checking his watch. He picks
up the phone, going through a large directory.

MULDER
Hey! We don't have time to dick around
here watching you demonstrate your
ignorance in the chain of command.
The order came direct from General
McAddie. Call him. We'll conduct our
business while you confirm
authorization.

Mulder is already directing Scully past the Naval Guard who
tentatively picks up the phone again.

YOUNG NAVAL GUARD
(to their backs)
Why don't you go on ahead head and
I'll confirm authorization.

MULDER
Thank you.

LEADING

Mulder and Scully, moving. They've pulled off a con.

MULDER
Why is a morgue suddenly off limits
on orders of a general?

CUT TO:

INT. BETHESDA NAVAL HOSPITAL - MORGUE FREEZER - NIGHT

TRACKING TABLE HEIGHT across gurneys where white sheet-wrapped
bodies lie. CAMERA LANDING ON Scully. Standing next to Mulder
who is undoing the peculiar ropey stitching on the sheet
used to secure the bodies.

SCULLY
This is one of the firemen who died
in Dallas?

MULDER
According to this tag.

SCULLY
And you're looking for? I can tell
you that without even looking at
him.
(off Mulder's look)
Conclusive organ failure due to
proximal exposure to source and flying
debris.

Scully pulls out an autopsy report that was laid on the gurney
under the body of the sheet-wrapped corpse.

SCULLY
This body has already been autopsied,
Mulder. You can tell from the way
it's been wrapped and dressed.

Undeterred, Mulder works to get the sheet off. The first
thing we notice is that he's still in his fireman's uniform.
His face looks familiar to us, not because we know him, but
because of the translucency of skin we saw in the other
fireman. (We will also notice he's missing an arm, a leg and
large part of his torso.)

MULDER
Does this fit the description you
just read me, Scully?

Scully comes around, reacting to what she sees.

SCULLY
Oh my God. This man's tissue...

Scully is quickly removing a pair of latex gloves, stretching
them on to palpate the man's tissue.

MULDER
It's like jelly.

SCULLY
There's some kind of cellular
breakdown. It's completely edematous.

She palpates the spongy skin on the man's face, neck.
Unbuttoning the uniform now, seeing:

SCULLY
And there's been no autopsy performed.
There's no Y incision here; no
internal exam.

MULDER
You're telling me the cause of death
on the report is false. That this
man didn't die from an explosion, or
from flying debris.

SCULLY
I don't know what killed this man.
I'm not sure if anybody else could
claim to either.

Off Mulder's reaction to this:

CUT TO:

INT. MORGUE - PATHOLOGY LAB - NIGHT - MINUTES LATER

The gurney with the fireman is pushed through a pair of
swinging doors into the darkened lab. Scully flips the lights
on, looking around at the giant facility.

SCULLY
(pushing him)
You knew this man didn't die at the
bomb site before we got here.

MULDER
I'd been told as much.

SCULLY
You're saying the bombing was a cover-
up. Of what?

MULDER
I don't know. But I have a hunch
what you're going to find here isn't
anything that can be categorized or
easily referenced.

SCULLY
Mulder, this is going to take some
time, and somebody's going to figure
out soon enough we're not even
supposed to be here.
(beat)
I'm in serious violation of medical
ethics.

MULDER
We're being blamed for these deaths.
Scully, I want to know what this man
died of. Don't you?

Scully stares at Mulder, then back down at the body. How can
she refuse, given the finality and the personal appeal of
the request? After a moment's hesitation, she turns to the
body, and to the tray table of tools nearby. Resigned, if
not resolved.

CUT TO:

EXT. WASHINGTON D.C. - NIGHT

A LEGEND appears: WASHINGTON D.C., DUPONT CIRCLE. 4:00 AM.
The street is fairly empty, save for a garbage truck picking
up the stacks of green garbage bags laid out on the sidewalks.
Then A TAXI turns off a main street, MOVING TOWARDS US.

INT. WASHINGTON D.C. STREET - TAXI - NIGHT

OVER MULDER to the street: Where the taxi is moving forward
toward a spot where two ARLINGTON PD cruisers are pulled up
to the curb. Mulder checks the address he has written down.

MULDER
(to the Cabbie)
I think this is it up here.

EXT. SIDE STREET - NIGHT

The taxi pulls over and Mulder exits, starting up the steps
of a walk up where the door is open.

INT. KURTZWEIL'S APARTMENT - NIGHT

There are UNIFORMED OFFICERS inside, and a DETECTIVE. Mulder
steps into an office. FOUR PAIRS of eyes give him the once
over. The Detective stepping over to him.

MULDER
Is this Dr. Kurtzweil's residence?

DETECTIVE
(suspiciously)
You got some kind of business with
him?

MULDER
I'm looking for him.

DETECTIVE
Looking for him for what?

Mulder pulls out his ID, flashes it at the Detective.

DETECTIVE
(to his partners)
Feds are looking for him, too.
(turns to Mulder)
Real nice business he's got, huh?

MULDER
What's that?

DETECTIVE
Selling naked pictures of little
kids over his computer.

Mulder nods, though this is news to him. He steps in a little
further, noticing a shelf lined with books. Their spines all
have the author's name written large: DR. ALVIN KURTZWEIL.

Mulder picks up one of these books, with the title: THE FOUR
HORSEMEN OF THE GLOBAL DOMINATION CONSPIRACY.

DETECTIVE
You looking for him for some other
reason?

MULDER
Yeah, I had an appointment for a
pelvic examination.

They stare at Mulder like he's a sicko. He smiles and they
break into RAUCOUS LAUGHTER.

DETECTIVE
You want a call if we turn up
Kurtzweil?

MULDER
No. Don't bother.

Mulder puts the book back among the others on the shelf.

AND EXITS. ONTO:

RESUME EXT. KURTZWEIL'S APARTMENT - NIGHT

Mulder starting up the street when he notices:

MULDER'S POV

Kurtzweil has stepped from between two apartments. He's
staring at Mulder, nodding furtively to him. Then stepping
back.

RESUME MULDER

Slows, then speeds up.

EXT. SPACE BETWEEN TWO APARTMENTS - NIGHT

Mulder appears at the end of the narrow walkway, finding
Kurtzweil tucked a few yards in.

KURTZWEIL
See this bullshit...? Somebody knows
I'm talking to you.

MULDER
Not according to the men in blue.

KURTZWEIL
What is it? Kiddie porn again? Sexual
battery of a patient? I've had my
license taken away in three states.

MULDER
They want to discredit you -- for
what?

KURTZWEIL
For what? Because I'm a dangerous
man. Because I know too much about
the truth.

MULDER
You mean that apocalyptic trash you
write? I knew your name was familiar.
I just didn't know why.

KURTZWEIL
You know my work?

MULDER
(pointedly)
Dr. Kurtzweil, I'm not interested in
bigoted ideas about race or genocide.
I don't believe in the Elders of
Zion, the Knights Templar, the
Bilderburg Group or in a oneworld
Jew run government --

KURTZWEIL
I don't either, but it sure sells
books.

He says it with an ironic smile. Causing Mulder to turn and
start off. But Kurtzweil hurries to grab him, to prevent
this.

KURTZWEIL
I was right about Dallas. Wasn't I,
Agent Mulder?

MULDER
How?

KURTZWEIL
I picked up the historical document
of the venality and hypocrisy of the
American government. The daily
newspaper.

MULDER
You said the firemen and the boy
were found in the temporary offices
of the Federal Emergency Management
Agency. Why?

KURTZWEIL
According to the newspaper, FEMA had
been called out to manage an outbreak
of the Hanta virus. Are you familiar
with the Hanta virus, Agent Mulder?

MULDER
It was a deadly virus spread by field
mice in the Southwest U.S. several
years ago.

KURTZWEIL
And are you familiar with FEMA? What
the Federal Emergency Management
Agency's real power is? FEMA allows
the White House to suspend
constitutional government upon
declaration of a national emergency.
To create a non-elected government.
Think about that.
(beat)
What is an agency with such broad
sweeping power doing managing a small
viral outbreak in suburban Texas?

MULDER
Are you saying it wasn't such a small
outbreak?

Kurtzweil is getting intense now.

KURTZWEIL
I'm saying it wasn't the Hanta virus.

They are both given a start when a POLICE CRUISER rolls by
on the street, giving a burp of its siren. It rolls past as
the two men tuck in tighter.

MULDER
What was it?

KURTZWEIL
When we were young men in the
military, your father and I were
recruited for a project. They told
us it was biological warfare. A virus.
There were rumors about its origins.

MULDER
What killed those men?

KURTZWEIL
What killed them I won't even write
about. I tell you, they'd do more
than just harass me. They have the
future to protect.

MULDER
I'll know soon enough.

KURTZWEIL
(worked up)
What killed those men can't be
identified in simple medical terms.
My god, we can't even wrap our minds
around something as obvious as HIV.
We have no context for what killed
those men, or any appreciation of
the scale in which it will be
unleashed in the future. Of how it
will be transmitted; of the
environmental factors involved.

MULDER
A plague?

KURTZWEIL
The plague to end all plagues, Agent
Mulder. A silent weapon for a quiet
war. The systematic release of an
indiscriminate organism for which
the men who will bring it on still
have no cure. They've been working
on this for fifty years. While the
rest of the world was fighting gooks
and commies these men have been
secretly negotiating a planned
Armageddon.

MULDER
Negotiating with whom?

KURTZWEIL
I think you know. The timetable has
been set. It will happen on a holiday,
when people are away from their homes.
When our elected officials are at
their resorts or out of the country.
The President will declare a state
of emergency, at which time all
federal agencies, all government
will come under the power of the
Federal Emergency Management Agency.
FEMA, Agent Mulder. The secret
government.

MULDER
And they tell me I'm paranoid.

KURTZWEIL
Something's gone wrong -- something
unanticipated. Go back to Dallas and
dig. Or you're only going to find
out like the rest of the country,
Agent Mulder. When it's too late.

Kurtzweil turns, starts off. Mulder stares after him. Then:

MULDER
How can I reach you?

KURTZWEIL
You can't.

Mulder moves to catch up to Kurtzweil, pulling out his cell
phone. Kurtzweil stops, turns. Truly and intensely paranoid.
Mulder makes him take the cell phone.

MULDER
No calling Hawaii.

Mulder turns and moves back out onto the street.

CUT TO:

INT. MORGUE - PATHOLOGY LAB - NIGHT

Agent Scully wears a surgical mask, latex gloves. Working on
the body of the fireman... when she reacts to a NOISE. Doors
opening, closing somewhere o.s. CAMERA MEDIUM WHIPS to a
door where she and Mulder entered the morgue. Where... the
Young Naval Guard and TWO MPs push through and enter. They
stand looking at:

THEIR POV

Where Scully stood moments ago, there is now just an
unattended gurney. A sheet over the fireman's body. Scully
is gone.

RESUME YOUNG NAVAL GUARD, MPS

Tense. Listening, watchful. Moving into the room.

CUT TO:

INT. BETHESDA NAVAL HOSPITAL - MORGUE FREEZER - NIGHT

Scully enters the space where she and Mulder found the
fireman's body. Trying to quietly click the door shut.
Standing now near the door, tense, listening. When the
CHIRPING of her cell phone breaks the tense silence. She
pats frantically at her coat, trying to get it answered before
it rings again. Unsuccessfully. Finally getting a hold of it
and hitting the send button. Scully sits breathing heavy,
nervous breaths -- waiting for the Young Naval Guard to come
running in.

MULDER'S VOICE (FILTER)
Scully...?

She puts the phone slowly up to her face.

SCULLY
(low whisper)
Yeah.

INTERCUT WITH:

INT. PHONE BOOTH - WASHINGTON D.C. - MORNING

Mulder's at the pay phone.

MULDER
Why are you whispering?

SCULLY
I can't really talk right now.

MULDER
What did you find?

SCULLY
Evidence of a massive infection.

MULDER
What kind of infection?

SCULLY
I don't know.

MULDER
Scully -- listen to me. I'm going
home, then I'm booking a flight to
Dallas. I'm getting you a ticket,
too.

SCULLY
Mulder --

MULDER
I need you there with me. I need
your expertise on this. The bomb we
found was meant to destroy those
bodies and whatever they were infected
by.

SCULLY
I've got a hearing tomorrow --

MULDER
-- I'll have you back for it, Scully.
Maybe with evidence that could blow
that meeting away.

SCULLY
Mulder -- I can't -- I'm already way
past the point of common sense here --

Scully hears VOICES in the hall outside the freezer.

CUT TO:

MULDER

MULDER
Scully...? Hello...?

But the line OFF, goes dead. Mulder hangs up the phone,
frustrated. Exits the booth in a hurry.

CUT TO:

INT. BETHESDA NAVAL HOSPITAL - MORGUE FREEZER - NIGHT

The door opens and the Young Naval Guard steps inside,
followed by the MPs. Moving into the room.

LOW ANGLE - TRACKING

with the Naval Guard's feet as they pass by the rolling carts
on which bodies are laid. TRACKING to find SCULLY, where she
hides under one of the carts. Huddled and cold.

The Guard's feet stop near here. He stands motionless for a
moment, then moves off. HOLD her until the door slams shut.

INT. FBI OFFICE - DALLAS - MORNING - MULDER

enters a forensics lab with a FIELD AGENT. A LEGEND reads:
FBI FIELD OFFICE, DALLAS: 11:20 AM.

FIELD AGENT
You're looking for what amounts to a
needle in a haystack. I'm afraid the
explosion was so devastating there
hasn't been a whole lot we've been
able to put together just yet.

They are walking amid BOXES of evidence. STACKS of debris.
There are FORENSIC TECHS sorting through this material. It
looks like the most tedious and painstaking job in the world.

MULDER
I'm looking for anything out of the
ordinary. Maybe something from the
FEMA offices where the bodies were
found.

FIELD AGENT
We weren't expecting to find those
remains, of course. They went right
off to Washington.

MULDER
Was there anything in those offices
that didn't go to D.C.?

FIELD AGENT
Some bone fragments came up in the
sift this morning. We thought there'd
been another fatality, but we found
out FEMA had recovered them from an
archeological site out of town.

MULDER
Have you examined them?

FIELD AGENT
No. Just fossils, far as I know.

Mulder is nodding, when both men look off at something that's
caught their attention o.s.

MULDER
I'd like this person to take a look,
if you don't mind.

THEIR POV - AGENT SCULLY

Standing in the doorway to the lab. She looks at Mulder as
if she's come in spite of her misgivings. Moving toward them
now.

FIELD AGENT
Let me just see if I can lay my hands
on what you're looking for.

The Field Agent nods to Scully as he passes, exiting deeper
into the room. Leaving Mulder and Scully by themselves
momentarily.

MULDER
You said you weren't coming?

SCULLY
I wasn't planning on it. Particularly
after spending a half hour in cold
storage this morning. But I got a
better look at the blood and tissue
samples I took from the firemen.

MULDER
What did you find?

SCULLY
(voice lowering
pointedly)
Something I couldn't show to anyone
else. Not without more information.
And not without causing the kind of
attention I'd just as soon avoid
right now.
(off Mulder's look)
The virus those men were infected
with contains a protein coat I've
never seen before. What it did to
them it did extremely fast. And unlike
the AIDS virus or any other aggressive
strain, it survives very nicely
outside the body.

MULDER
How was it contracted?

SCULLY
That I don't know. But if it's through
simple contact of blood to blood,
and if it doesn't respond to
conventional treatments, it could be
a serious health threat.

Mulder's reaction is postponed, or at least subdued by the
reappearance of the field agent.

FIELD AGENT
Like I said, these are fossils, and
they weren't near the blast center,
so they aren't going to tell you
much.

SCULLY
May I?

He offers Scully the small glass vials in which the bone
fragments have been separated. She takes them, looking at
them on her way over to the microscope. Tapping out a tiny
fragment onto the viewing bed. She puts her eyes down to the
stereoscope eyepieces, then almost immediately looks up at
Mulder who translates this look almost instantly.

MULDER
You said you knew the location of
the archeological site where these
were found.

FIELD AGENT
Show you right on a map.

Off Mulder and Scully's traded looks:

CUT TO:

EXT. SMALL PUBLIC PARK - WEST TEXAS - DAY

The domed white tent is still in place, the fleet of trucks
and equipment surrounding it unmanned. Several large sound-
dampened generators still hum away, but the work being done
here would be a mystery to anyone who didn't have access to
the tent.

CUT TO:

INT. DOMED TENT - DAY

An electric Bobcat-like bulldozer maneuvers a very high tech-
looking CLEAR CONTAINER to the edge of the earthen hole. The
container has monitors and gauges on it, oxygen tanks and
what looks like a circulation refrigeration unit. A self-
contained life support system. The inside of the container
is covered with a thin layer of frost.

When the small bulldozer gets the container over near the
hole, several technicians lift it down off the shovel, hand
carrying it toward the hole opening. As Dr. Bronschweig
APPEARS, moving to a ladder that leads down into the hole.
He's dressed in a haz-mat suit, with the hood off.

DR. BRONSCHWEIG
I need to have those settings checked
and re-set. I need a steady minus
two Celsius through the transfer of
the body, after I administer the
vaccine.

The men nod to Bronschweig, begin checking the settings as
Bronschweig puts his hood on, starts down into the hole,
through the clear hatch.

INT. SMALLER ICE CAVE - DAY

The refrigeration vents are still pumping in arctic air when
Dr. Bronschweig appears descending a fixed ladder. It is
dark in here, save for the ice blue glow of light coming
from the plastic draped area where we saw the fireman acting
as an incubator/host for some kind of organism growing inside
him.

Bronschweig steps over to this area, moves aside the plastic
drapery to enter.

ANGLE INSIDE, PLASTIC LINED AREA

Where the body of the fireman is still inside the quarantine
bubble litter in f.g. Bronschweig takes out of his pocket a
SYRINGE and an AMPULE. Turning now to the body. Stepping to
it. Moving a work light, as he had done for the Cigarette
Smoking Man, so that it shines on the face of the fireman.
But when he does this, Bronschweig nearly JUMPS, his breath
stolen away. Reacting to:

ANGLE ON FIREMAN'S BODY

The chest and torso have imploded. It has been turned into a
muddy mass of blood-stained jelly; bone and tissue melted
into an oozing mass which has sunken due to the fact that
the creature which was inside is now gone.

CAMERA WHIPS from Bronschweig to the wall. To the temperature
gauge which reads about 6 degrees Celsius. WHIPPING BACK to
Bronschweig who is now panicked.

INTERCUT WITH:

INT. DOMED TENT - DAY

ANGLE DOWN ON EARTHEN HOLE, where the Technicians Bronschweig
was speaking to minutes ago react to Bronschweig's MUFFLED
VOICE. He's down below them in the cave, looking up.

Pulling his haz-mat hood off. Yelling up to them.

DR. BRONSCHWEIG
It's gone!

TECHNICIAN
It's what?

OVER THE TECHNICIANS TO BRONSCHWEIG DOWN BELOW

DR. BRONSCHWEIG
It's left the body. I think it's
gestated --

Bronschweig is starting up the ladder when something stops
him.

RESUME INT. ICE CAVE

CREATURE'S POV OF BRONSCHWEIG

He stands frozen on the ladder, squinting into the darkness.

DR. BRONSCHWEIG
Wait -- I see it --

BRONSCHWEIG'S POV

In the shadows there is movement, the creature edging into
the light cast from the draped area. We see it is fully formed --
a replica of the Creature we saw at the opening of our story.
Though it does not make any kind of aggressive move. As if,
newborn, it is tentative.

RESUME BRONSCHWEIG - CREATURE'S POV

He remains standing on a rung of the ladder for a moment,
then takes a gentle step back down to the ground.

DR. BRONSCHWEIG
(nervous wonder)
Oh my god. Oh my god.

TECHNICIAN
You see it?

DR. BRONSCHWEIG
Yes. It's... amazing. You want to
get down here --
(sotto to himself)
Jesus Lord... so much for little
green men.

Dr. Bronschweig moves shakily to put the syringe in the ampule
again... when, suddenly, the Creature STRIKES.

CAMERA RUSHING FORWARD TO BRONSCHWEIG.

MATCH CUT TO:

OVERHEAD ANGLE - OVER THE TECHNICIANS

As the Creature slams into Bronschweig, knocking him out of
the line of sight from the top of the earthen hole.

There are SCREAMS OF PAIN from Bronschweig, then they abate.

RESUME INT. ICE CAVE

Bronschweig can be heard, but not clearly seen. He is in the
shadows himself now.

Trying to pick himself up, and when he manages to do this,
teetering back into the light we see that he is bloodied. He
is hurt, injured. Making his way back toward the patch of
light that comes from the hole above. Hoping to see that
help is on its way, while keeping a watchful, wary and worried
eye on the shadows, for another attack by the Creature.

DR. BRONSCHWEIG
Hey -- I need help.

But the Technicians looking down on him offer him nothing of
the sort. All they do is quickly close the clear hatch that
seals Bronschweig inside the cave.

DR. BRONSCHWEIG
Hey!

But he gets no answer, climbing the ladder shakily. A moment
later the first Bobcat shovel-full of dirt falls onto the
clear hatch and partially obscures the light. They are burying
Bronschweig alive.

INT. DOMED TENT - DAY

ANGLE DOWN ON BRONSCHWEIG through the glass hatch. His SCREAMS
continue. ADJUSTING to the small bulldozer which is quickly
hauling the mound of excavated earth into the hole from which
it came. While, all around, there is a hive of activity. Men
running everywhere.

CUT TO:

RESUME INT. ICE CAVE

Bronschweig reacts in silent horror now, only to turn in
further horror when he feels the impending attack of:

THE CREATURE

Right behind and just below him. Its grotesque features in
momentary high resolution, BEFORE IT ATTACKS CAMERA. Over
and over, savaging Bronschweig in a violent fury. Its hideous
teeth tearing at his flesh -- AT CAMERA -- driving him off
the ladder where the attack continues in momentary glimpses
of teeth, of bloody flesh, and of OILY BLACK BLOOD being
spattered about. At the height of the violence we hear
Bronschweig SCREAM. Matching the wound of this, as we:

CUT TO:

EXT. ESTATE SOMEWHERE OUTSIDE LONDON - EARLY EVENING

A CHILD'S SCREAM OF JOY. ENGLISH CHILDREN are playing tag or
some kind of children's game in the well-manicured garden of
a man who the CAMERA FINDS IN F.G. -- the man we have come
to know as THE WELL-MANICURED MAN. He is also a member of
the syndicate running "The Project", though his venality is
cloaked in civility and statesmanship. Right now he's watching
the children from the back steps of his mansion, charmed by
their game. When he is called by someone o.s.

VALET'S VOICE
Sir -- you have a call.

The Well-Manicured Man turns to see:

HIS VALET

Holds the door. After a moment the W.M.M. enters past the
Valet. As the screams of the children continue to rise and
fall.

CUT TO:

INT. SUBURBAN LONDON ESTATE - A BEAUTIFUL STUDY -

EVENING

The Well-Manicured Man enters, picks up a blinking line.
Through a window he can still see the children playing.

WELL-MANICURED MAN
Yes.

CIGARETTE SMOKING MAN
(FILTER)
We have a situation. The members are
assembling.

WELL-MANICURED MAN
Is it an emergency?

INTERCUT WITH TIGHT CSM AT INT. KENSINGTON BUILDING (NEXT
LOC.)

CIGARETTE SMOKING MAN
Yes. A meeting is set. Tonight in
London, to determine a course.

WELL-MANICURED MAN
Who called this meeting?

CIGARETTE SMOKING MAN
Strughold. He's just gotten on a
plane in Tunis.

This pronouncement has the power of ending any further
questions. An immediate sense of gravity of the situation.
The W.M.M. hangs up, moves to the window where he sees some
of the HELP is running from the house. The children have all
gathered around a BOY who seems to have hurt himself. He's
lifted and being carried by the man who's called the W.M.M.
into the house.

Off the Well-Manicured Man's concern, we:

CUT TO:

EXT. LONDON STREET - NIGHT

A discreet Town Car pulls up out front an understated building
in a better West End neighborhood. A driver exits coming
around for the Well-Manicured Man who is already exiting,
moving to the building. As a LEGEND appears: KENSINGTON,
LONDON: 8:01 PM.

CUT TO:

INT. KENSINGTON BUILDING - NIGHT

The Well-Manicured Man is admitted by a Valet. The interior
has the well-heeled look of money, or a finely appointed
residence that no one lives in. The Valet takes the W.M.M.'s
coat.

WELL-MANICURED MAN
Has Strughold arrived?

VALET
They're in the library.

He leads the W.M.M. down a hall, to:

INT. LARGE STATELY LIBRARY - NIGHT

A GROUP OF MEN are standing, looking at something on a TV
monitor. A surveillance video. They turn when the W.M.M.
enters. CAMERA FAVORING A SMALL LEAN MAN with close-cropped
hair.

He is at once elegant and imposing with eyes that hold you
with laser-like acuity. He is CONRAD STRUGHOLD.

The others are of various ethnicities, tailored and dignified.
This might be a collection of U.N. delegates. Indeed some
are.

Their business here, however, doesn't represent anyone's
interests but their own. As tipped by the attendance of a
GROUP ELDER from the U.S. who we've come to know.

But, more importantly, by the Cigarette Smoking Man who holds
the VCR remote. He pauses the picture.

STRUGHOLD
We began to worry. Some of us have
traveled so far, and you are the
last to arrive.

WELL-MANICURED MAN
I'm sorry. My grandson fell and broke
his leg.

The non-response to this has the same effect as a reprimand.
But the W.M.M. will not apologize or kowtow.

STRUGHOLD
While we've been made to wait, we've
watched surveillance tapes which
have raised more concerns.

The Well-Manicured Man glances to the TV, sees the frame
paused.

HIS POV OF TV MONITOR

Where Mulder and Scully's faces are seen in a hallway that
we recognize as the Bethesda Naval Hospital.

RESUME WELL-MANICURED MAN

WELL-MANICURED MAN
More concerns than that?

STRUGHOLD
We've been forced to reassess our
role in Colonization by new facts of
biology which have presented
themselves.

GROUP ELDER
(speaking up)
The virus has mutated.

WELL-MANICURED MAN
On its own?

CIGARETTE SMOKING MAN
Its effect on the host has changed.
The virus no longer just invades the
brain as a controlling organism.
It's developed a way to modify the
host body.

WELL-MANICURED MAN
Into what?

STRUGHOLD
A new extraterrestrial biological
entity.

It takes a moment to sink in. The weight of this fact.

WELL-MANICURED MAN
My god...

STRUGHOLD
The geometry of mass infection
presents certain conceptual re-
evaluations for us. About our place
in their Colonization.

WELL-MANICURED MAN
This isn't Colonization, it's
spontaneous repopulation. All our
work... if it's true, then they've
been using us all along. We've been
laboring under a lie!

2ND ELDER
It could be an isolated case.

WELL-MANICURED MAN
How can we know?!

STRUGHOLD
We're going to tell them what we've
found. What we've learned. Turn over
a body infected with the gestating
organism.

WELL-MANICURED MAN
In hope of what? Learning that it's
true?! That we are nothing more than
digestives for the creation of a new
race of alien lifeforms?!

STRUGHOLD
Let me remind you who is the new
race. And who is the old.
(beat)
What could be gained by withholding
anything from them; By pretending to
ignorance? Our knowledge may forestall
their plans to step up the timetable.
To start Colonization early.

WELL-MANICURED MAN
And if it doesn't? By cooperating
now we're but beggars to our demise!
Our ignorance was in cooperating
with the Colonists at all.

STRUGHOLD
Cooperation is our only chance of
saving ourselves.

CIGARETTE SMOKING MAN
They still need us to carry out their
preparations.

STRUGHOLD
We'll continue to use them as they
do us. If only to play for more time,
to continue work on our vaccine.

WELL-MANICURED MAN
Our vaccine may have no effect!

STRUGHOLD
Well, without a cure for the virus,
we're nothing more than digestives
anyway.

All eyes go to the Well-Manicured Man. He is respected, if
not the odd man out in this room. But he is all restrained
anger now.

WELL-MANICURED MAN
My lateness may have well been
absence. A course has already been
taken.

CIGARETTE SMOKING MAN
There are complications.

He turns back to the TV monitor where Mulder and Scully remain
frozen on the screen.

WELL-MANICURED MAN
Do they know?

CIGARETTE SMOKING MAN
Mulder was in Dallas when we were
trying to dispose of evidence. He's
gone back there again. Someone has
tipped him.

WELL-MANICURED MAN
Who?

CIGARETTE SMOKING MAN
Kurtzweil, we think.

STRUGHOLD
We've allowed this man his freedom.
His books have actually helped us to
facilitate plausible denial. Has he
outlived his usefulness to us?

WELL-MANICURED MAN
No one believes Kurtzweil or his
books. He's a toiler. A crank.

STRUGHOLD
And Mulder?

ELDER
Our new situation makes us vulnerable.
If he learns information as we do,
he could jeopardize the Project's
secrecy.

2ND ELDER
Control of information means control
of Mulder.

CIGARETTE SMOKING MAN
I can control Mulder. I've always
controlled Mulder.

STRUGHOLD
This may take another approach.

He says this, casting his look toward the Well-Manicured
Man. A look of cold malevolence. The W.M.M.'s reaction is
disdain.

WELL-MANICURED MAN
You can't kill Mulder. He's got too
much light on him.

STRUGHOLD
You need not kill a man to destroy
him.

WELL-MANICURED MAN
(personalizing the
inference)
No, you need only take away what is
most precious to him.

HARD CUT TO:

EXT. SMALL PUBLIC PARK - CENTRAL TEXAS - DAY

AGENT SCULLY

She stands against a backdrop of Texas flatland, squinting
into the sun. Shaking her head.

SCULLY
I don't know, Mulder...

We are:

WIDE ANGLE REVERSE, TO INCLUDE MULDER, standing in the middle
of a park, replete with jungle gyms, playground equipment.
All brand spanking new. They are standing right where there
had once been a hard scrabble, parched and barren little
field. Where the earthen hole had been dug by the young boys.
And what had later been the site of so much activity by the
group of scientists. But where there's now a park, thick
green grass covering the parch of ground, including the spot
where the hole had been.

SCULLY
He didn't mention a park.

MULDER
This is where he marked on the map,
Scully. Where he says those fossils
were unearthed.

SCULLY
I don't see any evidence of an
archeological or any other kind of
digsite. Not even a sewer or a storm
drain.

Mulder scans the area, confounded. Shaking his head as they
walk.

MULDER
You're sure the fossils you looked
at showed the same signs of
deterioration you saw in the fireman's
body in the morgue?

SCULLY
(nodding)
The bone was porous, as if the virus
of the causative microbe were
digesting it.

MULDER
And you've never seen anything like
that?

SCULLY
No. It didn't show up on any of the
immunohistochemical tests --

Mulder is listening to all this while looking down at his
feet:

MULDER
This looks like new grass to you?

SCULLY
It looks pretty green for this
climate.

Mulder stops, kneels, touches the thick green carpet of turf.
He digs around, lifting up a corner of a new square.

MULDER
Ground's dry about an inch down.
Somebody just laid this down. Very
recently, I'd say.

SCULLY
(looking off)
All the equipment is brand new.

MULDER
No irrigation system. Somebody's
covering their tracks.

They both turn, looking at something that's caught their
attention on the street where their rental car is parked.
Three kids, all of whom we recognize from earlier. Stevie's
"friends".

Tooling down the street on new BMX bikes. Reacting to Mulder's
loud WHISTLE. This stops them, staring at Mulder blankly
across the distance.

MULDER
Hey!

They don't answer. Just keep staring, squinting into the
sun. Mulder and Scully start walking toward them.

SCULLY
Do you live around here?

2ND BOY
Yeah.

As the Agents approach.

MULDER
You see anybody digging here?

The kids don't answer quickly.

2ND BOY
Not supposed to talk about it.

SCULLY
You're not supposed to talk about
it? Who told you that?

3RD BOY
Nobody.

MULDER
Nobody. Same nobody who put this
park in? That new equipment...
(off the boys guilty
looks)
They buy you these bikes?

The kids shift uncomfortably.

SCULLY
I think you better tell us.

2ND BOY
We don't even know you.

SCULLY
Well, we're FBI agents.

2ND BOY
You're not FBI agents.

MULDER
How do you know?

2ND BOY
Cause FBI agents wear like suits and
goofy ties. And dresses like my mom
wears to church. Like on that one
show.

Mulder and Scully pull their badges. The kids' mouths drop.

MULDER
Maybe you've been watching too much
TV.

3RD BOY
They all left twenty minutes ago.

4TH BOY
Going that way.

The kids all pointing in the same direction.

EXT. CENTRAL TEXAS HIGHWAY - LATE DAY

As Mulder and Scully's rental car RACES by at high speed.

CUT TO:

INT. MULDER AND SCULLY'S RENTAL CAR - DAY - CONTINUOUS

Mulder at the wheel, foot to the floor. Scully's got a map
out. The mood is urgent, tense.

MULDER
Unmarked tanker trucks... what are
archaeologists hauling out in tanker
trucks?

SCULLY
I don't know, Mulder.

MULDER
And where are they going with it?

SCULLY
That's the first question to answer,
if we're going to find them.

CUT BACK TO:

EXT. CENTRAL HIGHWAY - LATE DAY

Mulder slows down to a stop. They've come to a three-way
intersection in the middle of absolutely nowhere that offers
them three choices. The car sits idling for several beats.

RESUME INT. RENTAL CAR

Mulder's got his hand on his face rubbing his eyes.

MULDER
What are my choices?

SCULLY
About a hundred miles of nothing in
each direction.

MULDER
Where would they be going?

SCULLY
We've got two choices. One of them
is wrong.

They are both looking in different directions. The car idling.

MULDER
You think they went left?

SCULLY
I don't know why I think they went
right.

A few moments of silence. Then Mulder steps on the gas and
goes straight. Heading out onto the only unpaved road.
Accelerating away.

Scully looks at him, wondering. As they bump along at speed.
Mulder won't look at her for a few moments. Then, turning to
her:

MULDER
Five years together -- how many times
have I been wrong.

DISSOLVE TO:

EXT. TEXAS HIGHWAY - NIGHT

HEADLIGHTS appear in the distance on a long, dusty stretch
of road. GROWING as they approach, then coming to a stop in
a cloud of dust as they move into f.g.

Where a LINE OF FENCEPOSTS, BARBWIRE blocks their path.

As the car brakes, the passenger door opens and Scully exits.
A hot Texas wind blows. A dog is BARKING somewhere. Scully
walks into the headlight wash, looking at a sign on the fence.

After a moment, the driver's door opens and Mulder exits.

MULDER
Hey, I was right about the bomb,
wasn't I?

SCULLY
This is great. This is fitting.

REVERSE ON SCENE

On the fence sign, painted in crude letters, are the words:
SOME HAVE TRIED, SOME HAVE DIED. TURN BACK -- NO TRESPASSING.

MULDER
What?

SCULLY
I've got to be in Washington D.C. in
eleven hours for a hearing -- the
outcome of which might possibly affect
one of the biggest decisions of my
life. And here I am standing out in
the middle of nowhere Texas, chasing
phantom tanker trucks.

MULDER
We're not chasing trucks, we're
chasing evidence --

SCULLY
-- of what exactly?!

MULDER
That bomb in Dallas was allowed to
go off, to hide something: bodies
infected with a virus you detected
yourself.

SCULLY
They haul gas in tanker trucks, they
haul oil in tanker trucks -- they
don't haul viruses in tanker trucks.

MULDER
Yeah, well they may this one.

SCULLY
What do you mean by haul?
(off his reaction)
What are you not telling me here?

MULDER
This virus -- it...
(afraid to say)

SCULLY
Mulder --

MULDER
It may be extraterrestrial.

SCULLY
I don't believe this. I don't fucking
believe this.
(reaching her limit
of impatience)
Y'know, I've been here... I've been
here one too many times with you,
Mulder.

MULDER
Been where?

SCULLY
Pounding down some dirt road in the
middle of the night. Chasing some
elusive truth on a dim hope, only to
find myself standing right where I
am right now: at another dead end --

As she says this A BELL starts to sound. A flashing light
hits Mulder and Scully. They both turn to see:

HIGH ANGLE OVER A RAILROAD CROSSING SIGN

Sitting all by its lonely self. No swinging arms or gate.
Just one little sign between Mulder and Scully and their
car.

CAMERA PANNING to the light of a locomotive speeding toward
us.

WIDE ANGLE OVER TRACKS TO MULDER AND SCULLY

They move toward their car, but the train is coming fast.
Mulder and Scully stop and wait, watching the train. As the
engine breaks frame, eclipsing Mulder and Scully from view.
And as it passes by we see TWO VERY FAMILIAR WHITE TANKERS
loaded piggyback atop flat bed cars.

The train, which is not much longer than this, passes.

And Mulder and Scully make a mad dash for their car. The
lights come on and Mulder swings the vehicle into a hard
accelerating turn, taking the spoke of the intersection that
parallels the tracks. As the car hauls ass after the train,
we:

DISSOLVE TO:

EXT. OPPOSITE END OF MOUNTAIN PASS - NIGHT

The rails come up a grade where they appear out of a long
bending turn. Exiting the mountain pass near the summit of
the mountain. And now HEADLIGHTS appear, bouncing toward us.
It's Mulder and Scully's rental chugging up the grade.

And now pulling to a stop as it REACHES CAMERA. Then the car
doors open and Mulder and Scully exit. Putting jackets against
the cold desert night. Running over the gravel on the rail
bed into sharp f.g.

SCULLY
What do you think it is?

MULDER
I have no idea.

They start out toward it anyway, whatever it is. But the
image that we see next might cause us to ask the same
question.

REVERSE ANGLE -- MULDER AND SCULLY'S FORMER POV

The Agents are moving off the tracks now, picking their way
toward the horizon where, at the edge of the great plateau
that lays out before them, there are TWO GIANT GLOWING WHITE
DOMES.

It is otherwise pitch dark out, almost giving the impression
that the domes are floating.

It would give the distinct impression of otherworldliness,
if we hadn't seen a similar, smaller glowing dome over the
dirt field where the boys found the skull. And if we could
not see the lights of the TRAIN rolling to a stop near the
mysterious domes.

CUT TO:

EXT. GREAT PLATEAU - NIGHT - HIGH WIDE ANGLE

SLOWLY CRANING DOWN as Mulder and Scully move through the
low scrub of the high desert. Moving towards us as CAMERA
CONTINUES ITS SLOW CRANE DOWN, REVEALING in f.g. the tops of
CORN STALKS (yes, corn stalks.) What is the perimeter edge
of:

REVERSE CRANE DOWN (TO MATCH)

Acres and acres of corn fields, laying out before us in the
dark night. Running all the way to the WHITE DOMED TENTS in
the b.g.

Mulder and Scully enter the perimeter edge, disappearing
into:

EXT. ACRES OF CORN - NIGHT

TRACKING WITH Mulder and Scully as they move through the
field.

SCULLY
This is weird, Mulder.

MULDER
Very weird.

SCULLY
Any thoughts on why anybody'd be
growing corn in the middle of the
desert?

MULDER
Not unless those are giant Jiffy Pop
containers out there.

CONTINUE TRACKING as they move through the tall uniform rows.

ANGLE BEHIND THE AGENTS

Shooting down the long straight rows. CRANING UP to REVEAL
DOMES once again. Like space ships that have landed.

CUT TO:

OPPOSITE PERIMETER OF THE FIELD OF CORN

The Agents exit the edge of the crop field. They have come
upon the glowing tents now. Tall and pillowy against the
dark sky.

There is no evidence of anyone about. No sound, no signs.

Mulder and Scully stand at the edge of the field for a moment.
Then move cautiously across an open area to one of the domes.

CUT TO:

INT. WHITE DOME TENT - NIGHT

Mulder pulls open the steel door leading in. It opens with a
SUCKING SOUND which suggests the interior is pressurized.
And as he and Scully step in -- they both JUMP when LARGE
FANS just overhead hit them both with hard blasts of air.

Stepping quickly out of the downward blasting air, into the
still silence of the space beyond.

SCULLY
Cool in here. Temperature's being
regulated.

MULDER
For the purpose of what?

HIGH OVERHEAD ANGLE

Our view is down through the crosswires and cables that create
the tension support. The effect is a combination of simplicity
and perfect function. Stark and high tech. The flooring is
gray and flat, featureless. But we don't yet see from this
angle exactly what the white domed tent houses.

Though the air is still and there is no movement of any kind,
there is a sound that permeates the interior. A STEADY HUM.
Almost electrical hum, but different.

Mulder and Scully move together toward the middle of the
space.

WIDE ON TENT - MULDER AND SCULLY'S POV

Laid out in a grid, low to the ground, are what look like
BOXES. Fixed in place like roof vents, except these are on
the floor, no more than three feet tall, and about the same
measure square.

NEW ANGLE - TRACKING WITH MULDER AND SCULLY

As they continue to move cautiously, walking out into the
grid of box-shaped objects. Coming to the center of the
capacious, arena-sized space. Standing over one of the
mysterious boxes, which we now see have LOUVERED TOPS. The
louvers, however, are shut so that whatever is inside the
boxes cannot be seen.

SCULLY
I think we're on top of something. I
think these are some kind of venting.

Mulder lays his head and ear to the top of the box.

MULDER
You hear that?

SCULLY
I hear the humming. Like electricity.
High voltage maybe.

MULDER
Maybe. Maybe not.

Scully looks skyward.

SCULLY
What do you think those are for?

Mulder takes his ear off the box, looking up now, too.

THEIR POV

At the top of the dome are two LARGE corresponding LOUVER
VENTS.

RESUME MULDER AND SCULLY

Looking up at these vents.

CUT TO:

INT. WHITE DOME TENT - NIGHT

HIGH WIDE ANGLE OVER MULDER AND SCULLY, staring up JUST PAST
CAMERA at the louvered vents at top center of the tent. When
A LOUD METALLIC NOISE makes them jump.

AGENTS POV THE LOUVERED VENTS ABOVE THEM

One of the vents is opening automatically, its large metal
louvers straining from their flat closed position into an up-
and-down open position. When this is complete, the SECOND
LOUVER does the same.

The straining sound of galvanized metal-on-metal.

LOW ANGLE ON MULDER AND SCULLY

As Mulder turns his look from the ceiling back down to the
mysterious box they're standing next to. Something occurs to
him. Something frightening.

MULDER
Scully...?

SCULLY
Yeah...?

MULDER
Run.

Mulder grabs her hand, pulling her along. Though she doesn't
know why. Or what's about to happen. TRACKING FAST WITH THEM
as Mulder leads her back toward the door they entered, which
is a good hundred yards away.

SCULLY
(yelling, on the run)
What are you doing?

MULDER
(yelling back)
Come on!

When the LOUVERED VENTS on all the low grid-arranged boxes
OPEN IN DOMINO-LIKE SUCCESSION -- out of them pouring
THOUSANDS AND THOUSANDS OF BEES, rapidly filling the
atmosphere of the domed space.

As if the insects are being shot out of non-stop cannons.

HIGH ANGLE

THICK STREAMS of bees head RIGHT AT CAMERA, flying for the
open louvers at the top of the dome. As Mulder and Scully
run for it down below.

TRACKING WITH MULDER AND SCULLY

Scully's hand slipping from Mulder's as she pulls her jacket
up over her head. Mulder doing the same now, ducking his
head inside his own jacket. The Agents are slowed by the
bees but still make their zigzag way toward the door -- bees
clinging to their clothes. But motion seems to be the key.

As Mulder RUNS TOWARD CAMERA -- where the downward blast of
air knocks all the bees off him. In the b.g., we see that
Scully has fallen behind. Still running, but losing her way
in the process, losing her bearings as the thickening swarm
of bees descends.

CLOSE ON SCULLY

When Mulder enters frame, jacket pulled over his head again.
Taking Scully by the back of her coat and swinging her toward
the direction of the door. Whipsnapping her the rest of the
distance to the doorfans. Following right behind her as the
fans BLASTING them and the Agents continue right out the
doors. To:

EXT. WHITE DOMED TENT - NIGHT

Scully and Mulder comes blasting out themselves now, but
they haven't even had time to catch their breaths when they
react to MOVEMENT. Something coming at them in the night.

THEIR POV'S - STRAIGHT DOWN THE ROWS OF DOMED TENTS

Where BRIGHT BEAMS BLAST ON, moving fast toward them. The
RUSHING WHIR of the turbine engines of the unmarked choppers.
The bright beams skimming across the ground toward Mulder
and Scully, traveling right along the edges of ends of the
white domed tents. Threatening to spot the Agents, unless
they -- RUN.

And they do -- bolting just as the beams and the helicopters
blast over the spot they held just moments before. Running
to:

EXT. ACRES OF CORN - NIGHT - MULDER AND SCULLY - VARIOUS
HANDHELD

Running flat out now, knocking away the stalks and leaves
that block their way.

Following and leading shots.

POVs and Tracking shots.

And chasing angles, as the Agents run through the only cover
they've got. As:

ANGLE JUST OVER THE TOP OF CROPS

The unmarked helicopters swoop right overhead, their BRIGHT
SPOTLIGHTS searching and cutting through the cornrows. As
the Agents zig and zag just out of the discovering beams. As
the choppers zoom right over their heads.

REVERSE ON CHOPPERS

Traversing the field, then doing sharp banking turns and
swooping back over the field now in low drifting hovers. The
wash from the blades knocking the corn stalks down so as to
reveal anything hidden within.

The bright spots making sure that nothing might escape
detection.

LOW ANGLE - CAMERA SEARCHING AND FINDING SCULLY

as she runs up INTO FRAME. She's lost sight of:

SCULLY
Mulder?!

ANGLE ELSEWHERE ON MULDER

As he too runs to a stop. Hearing his name.

MULDER
Scully?!

RESUME SCULLY

Reacting to the sound of her name, but there's no time to
find her bearings on Mulder. Not before she has to take flight
again. As one of the choppers appears overhead, hovering
into view. Knocking the corn down in a path moving straight
toward her.

CAMERA LEADING HER as she runs from the oncoming craft.
PASSING CAMERA to the left, as the chopper passes CAMERA
RIGHT.

CUT TO:

TRACKING FAST WITH MULDER

Beating his way through the corn like Bomba through the
jungle.

Matching this action, as Mulder runs toward us. When one of
the unmarked helicopters BREAKS INTO FRAME in an intersecting
path, its BEAM passing right over Mulder and ILLUMINATING
HIM. But while it doesn't slow Mulder down, the helicopter
maneuvers into a hard banking turn, sweeping over the far
end of the corn field and heading

RIGHT BACK AT MULDER - AT US

CUT TO:

NEW LOW ANGLE ON EDGE OF CORN FIELD

Where Mulder bursts out of the perimeter, turning on a quick
dime and running an out pattern, just before the chopper
BURSTS into frame overhead, its search beam narrowly missing
Mulder.

NEW ANGLE ON MULDER

Running the corner of the field, looking frantically down
each corn row until he comes to a stop. No sign of:

MULDER
Scully?!

Mulder reacting to the sound of her response:

SCULLY
(distant o.s.)
Mulder!

NEW ANGLE ON SCULLY

She's exiting the field behind him. Running toward him, and
when she gets to him they both break into a run across the
desert. CAMERA FOLLOWING THEM as they sprint away.

FOLLOWING THEM until they both start to slow. Slowing to a
stop in the darkness. Turning to see:

THEIR POV

The helicopters have disappeared.

RESUME MULDER AND SCULLY

Reacting to this.

SCULLY
Where'd they go?

MULDER
I don't know.

Then they both turn again and continue running. As fast as
their feet will take them. Back towards the bluff where their
car is parked.

EXT. BLUFF OVERLOOKING CORN FIELDS - NIGHT

Where Mulder and Scully's car is parked. Stillness, until
Mulder and Scully's heads appear as they climb up from the
direction of the corn fields. They get in their car and start
it quickly. Mulder turns the ignition, but the car doesn't
start immediately. He turns it over and over but it won't
kick.

As he does this, unbeknownst to the agents ONE OF THE BLACK
HELICOPTERS rises up from below the bluff, appearing in their
rear windshield. Hovering just behind the car like a giant
bumblebee. Just as...

...Mulder gets the car started, throwing the transmission in
gear and spinning the tires. As they head off back in the
direction they came, without their lights on. As they do
this, the black chopper continues to hover for a moment,
then BANKS OFF AND AWAY. Into the night.

Mulder and Scully speed off in the opposite direction. As
we:

DISSOLVE TO:

INT. FBI OFFICE OF PROFESSIONAL REVIEW - DAY

CLOSE ON A FILE

Being leafed through by a woman's hands. CAMERA TILTING UP
to Special Agent Cassidy, the woman we met earlier running
the OPR hearing. She takes a quick glance at her watch,
looking up when:

THE DOOR TO THE ROOM

opens. A beat, then Skinner enters with a wearied look.

SKINNER
She's coming in.

Skinner ducks his head back out to look at:

INTERCUT WITH:

INT. HALLWAY OUTSIDE OPR HEARING ROOM - DAY

Where Scully stands looking into the glass of a display case,
trying to put her hair and clothes and person together. She's
still in the same clothes we saw her in. Seeing Skinner now
moving toward him.

RESUME OPR HEARING ROOM

Scully enters past Skinner. Though she has straightened them,
and her hair, there is no mistaking that she's been to the
dust bowl and back to get here. Her manner is chastened.

Scully tries to keep her eyes on the table where she'll be
sitting. Venturing only a brief, polite look to:

ANGLE TO INCLUDE CASSIDY AND THE OTHER PANEL MEMBERS

They reshuffle their papers, pulling up their chairs. Ready
to get down to business now.

CASSIDY
Special Agent Scully --

SCULLY
I apologize for making you wait --
I've brought some new evidence with
me --

CASSIDY
Evidence of what?

CLOSE PROFILE ON SCULLY

Reaching into her satchel, pulling out an evidence bag.
Whatever she's reaching for she's reluctant to present with
confidence.

SCULLY
These are fossilized bone fragments
I've been able to study, gathered
from the bomb site in Dallas...

As Scully speaks we see A BEE crawl out from under the collar
of her suit jacket, crawling toward the back of her neck.
Crawling slowly, as if stretching its legs from its long
journey. CAMERA DOLLYING around Scully as the bee does, moving
into and OVER to:

CASSIDY
You've been back to Dallas?

SCULLY
Yes.

CASSIDY
Are you going to let us in on what
exactly you're trying to prove --

SCULLY
That the bombing in Dallas may have
been to destroy the bodies of those
firemen, so their deaths and the
reason for them wouldn't have to be
explained --

CASSIDY
(challenging)
-- those are very serious allegations,
Agent Scully --

SCULLY
Yes. I know.

There is a hush of murmured responses to this, the panel
members speaking to one another. Assistant Director Skinner
shifts uneasily in his chair. He's been here before with
Agents Mulder and Scully. He's sensing something outrageous.

CASSIDY
And you have conclusive evidence of
this? Something to tie this claim of
yours to the crime --

SCULLY
(grudgingly)
Nothing completely conclusive --

We have returned to the OVER ANGLE on Scully, where we see
the BEE just below her jacket collar on the back of her neck.

It CRAWLS back under her collar, DISAPPEARING from sight.

SCULLY
I hope to. We're working to develop
this evidence --

CASSIDY
Working with?

SCULLY
Agent Mulder.

Off Cassidy's knowing nod, a general shifting in chairs, we:

CUT TO:

INT. DOWNSCALE D.C. BAR - LATE DAY

Mulder pushes through the front, scanning the room for:

ANGLE ON KURTZWEIL

Sitting at a booth at the dark rear of the establishment.
Mulder enters frame, sitting down across from him. Kurtzweil
is jumpy, but he sees from Mulder's expression that
something's up.

KURTZWEIL
You found something?

MULDER
Yes. On the Texas border. Some kind
of experiment. Something they
excavated was brought there in tanker
trucks.

KURTZWEIL
What?

MULDER
I'm not sure. A virus --

KURTZWEIL
-- You saw this experiment?

MULDER
What did it look like?

MULDER
There were bees. And corn crops.

Kurtzweil smiles at Mulder, laughs with nervous excitement.
Mulder doesn't quite realize it yet, but this is news to
him.

MULDER
What are they?

Kurtzweil slides from his seat, rising.

KURTZWEIL
What do you think?

MULDER
A transportation system. Transgenic
crops. The pollen genetically altered
to carry a virus.

KURTZWEIL
That would be my guess.

MULDER
Your guess?

But Kurtzweil doesn't respond to this. He's moving toward
the back of the bar. Mulder slides out, pursuing him.

ANGLE ON BARMAID

The few PATRONS sitting at the bar, all turning in reaction
to this sudden flurry of activity.

INT. REAR OF DOWNSCALE BAR - NIGHT - CONTINUOUS

Near the bathrooms. Mulder catches up to Kurtzweil.

MULDER
What do you mean, your guess?

Kurtzweil doesn't stop. So Mulder must physically stop him.

MULDER
You told me you had answers.

KURTZWEIL
Yeah, well I don't have them all.

MULDER
You've been using me --

KURTZWEIL
I've been using you?!

MULDER
You didn't know my father --

KURTZWEIL
I told you -- he and I were old
friends --

MULDER
You're a liar. You lied to me to
gather information for you. For your
goddamn books. Didn't you?

Mulder is getting heated, rough with Kurtzweil. When,
unexpectedly A MAN suddenly exits the bathroom. REACTING to
this scene. Kurtzweil uses the moment to break from Mulder.
Slipping out the back door. Mulder takes a beat, then goes
after him.

Pushing out the back door into the blinding brightness.

CUT TO:

EXT. ALLEY BEHIND BAR - DAY

Mulder busts out the back door, chasing Kurtzweil.

MULDER
Kurtzweil!

Kurtzweil turns to him. With restrained ferocity.

KURTZWEIL
You'd be shit out of luck if not for
me. You saw what you saw because I
led you to it. I'm putting my ass on
the line for you.

MULDER
Your ass? I just got chased across
Texas by two black helicopters.

KURTZWEIL
And why do you think it is you're
standing here talking to me? These
people don't make mistakes, Agent
Mulder.

And with that he turns now, striding off. Leaving Mulder to
deal with the excellent logic of this. When suddenly Mulder
reacts to A NOISE. Somewhere above him.

MULDER'S POV

Up on a fire escape, A MAN is moving. Mulder can only see
his feet and legs from this angle, but it is clear he has
been watching Mulder. Upon being spotted, the figure slides
away and disappears.

ANGLE FROM INSIDE FIRE ESCAPE BUILDING

We get a glimpse of the man who was watching him. A face we
recognize as that of the man who brushed past Mulder coming
out of the vending room, not long before the building in
Dallas blew. He is moving quickly now, disappearing into the
shadows. CAMERA TILTING DOWN to find:

MULDER. He stands staring up, but only for a moment until he
turns and hurries off in the opposite direction Kurtzweil
disappeared in.

CUT TO:

INT. MULDER'S APARTMENT - MAGIC HOUR

ANGLE OVER MULDER'S DESK at the far end of the living room.
The sound of keys in the door, then Mulder enters his
apartment in a hurry. Moving to the desk and going at this
pace through the drawers. Looking for... A PICTURE ALBUM.

Which he takes now, leafing through it. Flipping the pages,
looking for:

ANGLE OVER MULDER

Finding old pictures of young Fox Mulder with his SISTER,
Samantha. With his father and mother. The plastic-covered
page is peeled back and one of these photos is removed. It
is an old family snapshot. A picnic possibly.

Mulder stares at the picture.

INSERT PHOTO -- In the b.g. of the picnic, his head turned
to camera, is a young KURTZWEIL.

Mulder studies the photo intensely, when there's a KNOCK at
his door. Mulder turning to see:

SCULLY

In his haste, Mulder had neglected to lock his door. Scully
is pushing it open. She's still in the same clothes. She
looks beat. Her eyes meeting Mulder's. A gaze that says bad
news.

MULDER
What? What's wrong?

SCULLY
Salt Lake City, Utah. Transfer
effective immediately.

Mulder is shaking his head. Not wanting to hear this.

SCULLY
I already gave Skinner my letter of
resignation.

MULDER
You can't quit, Scully.

SCULLY
I can, Mulder. I debated whether or
not to even tell you in person,
because I knew --

MULDER
We're close to something here --
we're on the verge --

SCULLY
You're on the verge, Mulder -- please
don't do this to me --

MULDER
After what you saw last night --
after all you've seen -- you can't
just walk away --

SCULLY
I have. I did. It's done.

MULDER
Just like that --

SCULLY
I'm contacting the state board Monday
to file medical reinstatement papers --

MULDER
I need you on this, Scully --

SCULLY
You don't Mulder -- you've never
needed me. I've only held you back.
(beat)
I've got to go.

And with that she exits his apartment, the argument too
painful, and her ability to be persuaded too clear to herself.

INT. HALLWAY OUTSIDE MULDER'S APARTMENT - NIGHT

WIDE ANGLE FROM END OF HALL where we see Scully, leaving
Mulder's apartment. Moving at a hurried clip to the elevator --
TOWARD CAMERA. As if anticipating her own impulse to turn
around and go back. As she moves into f.g. Mulder exits his
apt. door.

MULDER
You're wrong --

He hurries to catch her. As she turns on him.

SCULLY
Why was I assigned to you? To debunk
your work. To reign you in. To shut
you down.

MULDER
You saved me, Scully.
(off her look)
As different and frustrating as it's
been sometimes, your goddamn strict
rationalism and science have saved
me a thousand times; have kept me
honest and made me whole. I owe you
so much, Scully, and you owe me
nothing.
(beat)
I don't want to do this without you.
I don't know if I can. If I quit
now, they win.

She is silent, moved. In spite of all her desire not to be.
She moves to Mulder, holds him. They break slightly and she
looks up at Mulder with deep respect, admiration and... kisses
him on the forehead. When...

...suddenly a physical intimacy we've never seen. A heat and
passion that can't be denied. The opportunity for the
inevitable has presented itself.

The moment of truth has arrived. Mulder is staring at Scully
as she's looking back at him. His head moves slightly toward
hers -- as one of his hands moves up to her neck, drawing
her to him. Where there is hesitation on her part, there is
also desire. When:

SCULLY
OUCH!!!

Scully pulls away from Mulder, RUBBING at her neck where his
hand had been.

MULDER
What? What happened?

SCULLY
I think... something stung me.

Scully's hand comes out with THE SQUIRMING BEE, which she
holds in her hand while Mulder moves around her, checking
her neck.

MULDER
It must...

But he doesn't finish his sentence before he has to catch
Scully from falling. Her head bobs and she has to catch it.

MULDER
Scully...

SCULLY
Something's wrong...
(fighting for clarity)
I'm having -- lancinating pain -- my
chest. My... motor functions are
being affected. I'm...

Mulder lays her down on the floor during this. Scully
continues to speak, though her eyes are not focusing. She is
limp in Mulder's arms.

SCULLY
...my pulse feels thready and I've
got a funny taste in the back of my
throat.

MULDER
I think you're in anaphylactic shock --

SCULLY
No -- it's --

Her voice is getting thin now, too.

MULDER
Scully --

SCULLY
I've got no allergy. Something...
this... Mulder... I think... I think
you should call an ambulance.

And Mulder is on his feet in a flash, running for:

CUT TO:

INT. MULDER'S APARTMENT - NIGHT - CONTINUOUS

CLOSE OVER PHONE as Mulder races into the apartment, dashing
TOWARD CAMERA, picking up the receiver, dialing. HOLDING ON
THE PHONE during this action. TILTING UP for:

MULDER
This is Special Agent Fox Mulder. I
have an emergency -- I have an agent
down --

INT. HALLWAY OUTSIDE MULDER'S APARTMENT - NIGHT

SCULLY - HANDHELD

Picked up and one-two-three loaded on a gurney by TWO
PARAMEDICS.

1ST PARAMEDIC
Can you hear me? Can you say your
name?

Scully is trying, but the words won't come out.

1ST PARAMEDIC
She's got constriction in the throat
and larynx -- are you breathing okay?

He lays his head down to her mouth.

1ST PARAMEDIC
Passages are open. Let's get her in
the van --

NEIGHBORS are in the hall now, along with Mulder. Who is
moving beside the Paramedics as they hustle the gurney down
the hall.

1ST PARAMEDIC
Coming through people -- here we go.
Coming through --

CUT TO:

EXT. MULDER'S APARTMENT - NIGHT - CONTINUED HAND HELD

The Paramedics bang out the front door, stutter-stepping the
gurney down to the walk, to their EMT VAN which sits at the
curb with the LIGHT BAR FLASHING. Mulder following close by.

MULDER
She said she had a taste in the back
of her throat -- there was no pre-
existing allergy to bee-stings --
the bee that stung her may have been
carrying a virus --

2ND PARAMEDIC
A virus?

1ST PARAMEDIC
Get on the radio, tell them we have
a cytogenic reaction, we need an
advise and administer --

They get her to the back of the vehicle, guiding the gurney
in with experienced hands. Scully's eyes are on Mulder as
she's slid into the brightly lit interior.

The 1st Paramedic blocks Mulder somewhat as he steps toward
the van, anticipating that he's going with them to the
hospital. But the doors are closing on him before he gets an
opportunity.

FOLLOWING MULDER around to the driver's side of the van now,
moving to the driver's window where THE DRIVER can be seen
in the rear view mirror, his eyes watching Mulder.

ON MULDER

A moment of vague recognition -- a catch in his step.

RESUME

As Mulder's momentum carries him to the driver's window where
se see again the man from the vending room, who was also
surveilling Mulder. And he has a HANDGUN pointed at Mulder,
which he FIRES THROUGH THE WINDOW. The glass shattering.

RESUME MULDER

Throwing himself away backward, but the bullet catches him
in the head. Blood and glass spraying onto the side of the
van. He goes down to the ground -- as the paramedic van
accelerates fast away.

LOW ANGLE REVERSE ON MULDER

Lying in the street, his head bleeding profusely. While in
the b.g., A SECOND AMBULANCE IS SPEEDING TO THE SCENE. As it
skids to a stop and TWO NEW PARAMEDICS jump out, we:

DISSOLVE TO:

EXT. WASHINGTON NATIONAL AIRPORT - NIGHT

A MEDIUM SIZED PRIVATE JET is taxiing down an alley off the
main runway where a 747 is speeding toward takeoff. The
private jet turning TOWARD CAMERA and nosing into f.g.

NEW ANGLE ON TARMAC

Where MEN IN FAMILIAR BLACK FATIGUES are unloading something
from an unmarked cube truck that is also familiar: the very
high tech-looking CLEAR CONTAINER, with its monitors and
gauges, its oxygen tanks and refrigeration unit. A self-
contained life support system. The inside of the container
is covered with a thin layer of frost, through which we can
see AGENT SCULLY.

She lies as if in a state of paralysis, but a blink of her
eyes is enough to tell us that she is... alive.

TRACKING WITH THE MEN moving the container. As they hustle
it to the waiting jet. As The Cigarette Smoking Man is
descending the steps of the plane onto the tarmac. Watching
as the container is moved to the cargo hold and loaded inside.

The hold is closed and the jet engines wind back up. As the
Cigarette Smoking Man re-boards the aircraft and it taxis
away.

FADE SLOWLY TO BLACK:

INT. HOSPITAL - NIGHT

Voices fade in slowly, inaudible at first. For regular viewers
of the show, they will recognize the voices of the Lone
Gunmen.

Three nerdish paranoiacs who publish a magazine which charts
and cataloged conspiracies past and present, among other
government malfeasance. They are Langly, Byers and Frohike.

BYERS
I think he's coming out --

LANGLY
He's coming to.

FROHIKE
Hey, Mulder...

FADE UP, as if our eyes are blinking open. We are in Mulder's
POV, and the face right above us is Frohike's.

FROHIKE
Mulder...?

Behind Frohike, looking down at Mulder, are Byers and Langly.

REVERSE ON MULDER

Staring at the diminutive Frohike, the long-haired Langly
and the courtly Byers with dawning recognition.

MULDER
Oh god...

LANGLY
What's wrong?

MULDER
(to Byers, then Langly)
Tin Man. Scarecrow.
(to Frohike)
Toto.

Mulder sits up now, rubbing his face, feeling the BANDAGE
he's got on his head.

MULDER
What am I doing here?

BYERS
You were shot in the head. The bullet
broke the flesh on your right brow
and glanced off your temporal plate.

MULDER
(woozy)
Penetration but not perforation.

LANGLY
Three centimetres to the left and
we'd be playing the harp.

Mulder is still shaking out the cobwebs.

BYERS
They gave you a craniotomy to relieve
the pressure from a subdural hematoma.
But you've been unconscious since
they brought you in.

MULDER
When was that?

FROHIKE
Two days ago. Your guy Skinner's
been here with you around the clock.

LANGLY
We got the news and made a trip to
your apartment. Found a bug in your
phone line.

FROHIKE
And one in your hall.

Byers holds up the first small device. Frohike holds up a
vial containing A BEE. Mulder realizing:

MULDER
Scully had a violent reaction to a
bee sting --

BYERS
You called 911. Except the call was
intercepted.

MULDER
(sitting up)
They took her --

Mulder pushes the covers off. Swinging his legs to the ground.
As A.D. Skinner enters the room. Surprised to see Mulder up.

SKINNER
Agent Mulder --

MULDER
Where's Scully?!

As he says this he loses his balance slightly, has to hold
onto one of the Gunmen. Struggling with his faculties.

SKINNER
She's missing. We've been unable to
locate her or the vehicle they took
her in.

MULDER
Whoever they are -- this goes right
back to Dallas -- it goes right back
to the bombing --

SKINNER
I know.
(off Mulder's reaction
to this)
Agent Scully reported your suspicions
to OPR. On the basis of her report,
I sent techs over to S.A.C. Michaud's
apartment. They picked up PSTN
residues on his personal effects
consistent with the construction of
the vending machine device in Dallas.

MULDER
(reeling)
How deep does this go?

SKINNER
I don't know.

Mulder sees A MAN IN A SUIT passes by the small window in
the door, casting a furtive glance in, then moving off. He
turns his look back to Skinner.

MULDER
Are we being watched?

SKINNER
I'm not taking any chances.

Mulder nods. Pulling now at the bandage on his head. Peeling
it away and revealing the wound beneath.

MULDER
I need your clothes, Byers.

BYERS
Me?

SKINNER
What are you doing?

MULDER
I've got to find Scully.

FROHIKE
Do you know where she is?

MULDER
No. But I know someone who might
have an answer. Who better.

Mulder is undoing his hospital gown now, his white buns
gracing the screen for the first time in history, as he ducks
into the bathroom. As the men left standing in the room all
look to Byers, reluctantly removing his duds. Off this:

CUT TO:

INT. HOSPITAL HALLWAY - NIGHT

ANGLE OVER MAN IN A SUIT standing with his back to Mulder's
room, reading a section of a newspaper (the rest of the paper
sitting on a chair, as if the man's possibly set up here.)
As the door to Mulder's room opens in the b.g. and Frohike
appears.

Frohike keeps his eyes on the Man as Langly appears now,
followed by... Byers? We can't see clearly as the other two
block our POV and the third man out doesn't show us his face.
The threesome starts down the hall, their footsteps drawing
the attention of the Man in a Suit.

ANGLE OVER MULDER AND THE OTHER GUNMEN

As they head TOWARD CAMERA. Walking at a pace. In the b.g.
the Man in the Suit is drifting toward Mulder's hospital
room.

ANGLE ON MAN IN SUIT

Suspicious. He moves to the door, looks in the little glass
window. Seeing... Byers, the sheets pulled up to his nose to
hide his beard and mustache. Skinner standing next to him,
talking on the phone.

The Man in the Suit looking down to the end of the hall again.

RESUME ANGLE OVER MULDER AND THE GUNMEN

As Mulder and his two flankers MOVE RIGHT TO CAMERA. Mulder
is taking a cell phone being handed to him by Frohike. Dialing
on the move.

CUT TO:

EXT. ALLEY BEHIND DOWNSCALE D.C. BAR - NIGHT

A FIGURE appears at the end of the alley, moving toward us.
It could be Mulder from this distance, but as the figure
comes closer we recognize him as Kurtzweil. Moving into the
f.g., checking behind him, ahead of him. Jumpy.

He takes a cautious beat, then moves to the door leading
into the bar (established), reaching for the knob. Opening
it, finding the Well-Manicured Man standing there.

WELL-MANICURED MAN
Dr. Kurtzweil, isn't it? Dr. Alvin
Kurtzweil?

KURTZWEIL
Jesus Christ.

Kurtzweil is shaken by the sight of this man. Backpedaling a
bit, looking around and behind him for an ambush.

WELL-MANICURED MAN
You're surprised. Certainly you've
been expecting some response to your
indiscretion.

The W.M.M. steps out of the doorway, following Kurtzweil.

WELL-MANICURED MAN
I'm quite sure whatever you told
Agent Mulder, you have your good
reason. It's a weakness in men our
age; the urge to confess.
(stopping his walk)
I forgive you that.

Kurtzweil is thrown by the words, and the delivery. Stopping
his backward progress. Studying this upright and civil man.

KURTZWEIL
What are you doing here? What do you
want from me?

WELL-MANICURED MAN
You must try to understand, what I'm
here to do is only to protect my
children. You and I have but short
lives left. I can only hope the same
isn't true for them.

On this note, Kurtzweil turns and hoofs it back in the
direction from which he came. TRACKING BACK WITH HIM until
HEADLIGHTS hit his face.

REVERSE ANGLE

A TOWN CAR has pulled into the alley behind him. Accelerating
fast down the narrow corridor. Effectively trapping Kurtzweil
in. As he squints into its headlights, then turns back with
fear in his eyes to the W.M.M.

CUT TO:

EXT. STREET OUTSIDE DOWNSCALE BAR - NIGHT

Where a figure is coming down the street toward us.

Running, it's Mulder, going balls out. Running to the entrance
of the bar and yanking open the door.

INT. DOWNSCALE D.C. BAR - NIGHT

Moderately crowded as Mulder enters, stopping to catch his
breath. Moving to the back of the bar. Looking for:

THE BOOTH WHERE HE MET KURTZWEIL EARLIER

It's empty.

RESUME MULDER

Moving through the bar -- real panic in his expression. He
heads to the back.

INT. REAR OF DOWNSCALE BAR - NIGHT - CONTINUOUS

Mulder passing the bathrooms, moving to the door where we
saw the Well-Manicured Man standing just a short bit ago.
But there is no one back here now. Mulder moves to the back
door, the one leading to the alley, pushing it open and
finding:

The Well-Manicured Man stands with HIS DRIVER closing the
trunk on the idling Town Car (which has been turned around.)
The W.M.M. turns to see:

WELL-MANICURED MAN
Mr. Mulder.

MULDER
What happened to Kurtzweil?

WELL-MANICURED MAN
He's come and gone.

The W.M.M. moves to Mulder, who doesn't trust him for a
second. Mulder is still breathing hard, sizing up this scene.

MULDER
Where's Scully?

WELL-MANICURED MAN
I have answers for you.

MULDER
Is she alive?

WELL-MANICURED MAN
Yes.

Mulder stares at the W.M.M. -- measuring him.

WELL-MANICURED MAN
I'm quite prepared to tell you
everything, though there isn't much
you haven't guessed.

MULDER
About the conspiracy?

WELL-MANICURED MAN
I think of it as an agreement. A
word your father liked to use.

MULDER
I want to know where Scully is.

The Well-Manicured Man suddenly reaches into his jacket
pocket, without warning or explanation. Mulder tensing
slightly. He removes a thin felt envelope.

WELL-MANICURED MAN
The location of Agent Scully. And
the means to save her life.
(off Mulder's look)
Please...

He gestures toward the car where the Driver stands with the
back door open. Mulder hesitates, then steps from the doorway.
Moving past the W.M.M., sliding in. The W.M.M. gets in after
him, closes the door. The car pulls away.

CUT TO:

INT. LIMOUSINE - NIGHT - CONTINUOUS

WE SEE MULDER in the back seat, reflected in the rear-view
mirror. Where we also see the eyes of the DRIVER watching
him. Mulder is handed the felt envelope by the W.M.M.

MULDER
What is it?

WELL-MANICURED MAN
A weak vaccine against the virus
Agent Scully has been infected with.
It must be administered with ninety
six hours.

MULDER
(beat)
You're lying.

WELL-MANICURED MAN
No. Though I have no way to prove
otherwise. The virus is
extraterrestrial. We know very little
about it, except that it is the
original inhabitant of this planet.

MULDER
(dubious, to say the
least)
A virus?

WELL-MANICURED MAN
A simple, unstoppable lifeform. What
is a virus but a colonizing force
that cannot be defeated? Living in a
cave, underground, until it mutates.
And attacks.

MULDER
This is what you've been conspiring
to conceal? A disease?

WELL-MANICURED MAN
No! For God sake you've got it all
backwards.

This outburst comes suddenly, unexpectedly.

WELL-MANICURED MAN
Aids, the ebola virus -- on the
evolutionary scale they are newborns.
This virus walked the planet long
before the dinosaurs.

MULDER
What do you mean, walked?

WELL-MANICURED MAN
Your aliens, Agent Mulder, your little
green men, first landed here millions
of years ago. Those that didn't leave
have been laying dormant underground
since the last Ice Age. In the form
of an evolved pathogen. Waiting to
be reconstituted when the alien race
from which it came returns to colonize
the planet. Using us as hosts. Against
this we have no defense. Nothing but
a weak vaccine.
(beat)
Do you see why it was kept secret?
Why even the best men -- men like
your father -- could not let the
truth be known?

The force and conviction of his delivery leave Mulder shaken.

WELL-MANICURED MAN
Until Dallas, we believed the virus
was simply a controlling organism.
That mass infection would make us a
slave race.

MULDER
That's why you bombed the building.
The infected firemen, the boy --

WELL-MANICURED MAN
Imagine our surprise when they began
to gestate. My group has been working
cooperatively with the alien
colonists, facilitating their
programs. To give us access to the
virus. In false hope we might be
able to secretly find a cure. So
that we might save ourselves, as the
last of the species.
(beat)
Your father wisely refused to believe
this, choosing hope over selfishness.
Hope is the only future he had: his
children,
(beat, then self-
revealing)
The only future any of us have.

This draws a look back in the mirror from the Driver.

MULDER
But... he sacrificed his own daughter.
My sister, Samantha.

WELL-MANICURED MAN
The only true survivors of the viral
holocaust will be those immune to
it: those vaccinated against it and
human/alien hybrids. Your father
arranged for your sister's abduction.
He allowed her to be taken to an
alien hybrid program, so that she
would survive. As a clone.
(beat)
He had different hopes for you. That
you would uncover the truth about
the Project. That you would stop it.
That you would fight the future.

Mulder sits stunned by this. As if somehow his destiny has
been validated, if not pre-ordained. Or maybe just justified.

MULDER
Why are you telling me this?

WELL-MANICURED MAN
I thought it only fair you should
know, given how hard you've worked.

MULDER
What happened to Kurtzweil?

WELL-MANICURED MAN
As your father knew, things need to
be sacrificed to the future.

MULDER
Where is he?

WELL-MANICURED MAN
Dr. Kurtzweil is in the trunk.

Mulder stares at the W.M.M., at his cold-blooded expression.

MULDER
Let me out. Stop the car.

WELL-MANICURED MAN
(motioning)
Driver.

Mulder reacting to this as the limo pulls to a stop. Trying
the door, but the door is locked. When he turns back to the
W.M.M. he has produced a handgun, which is now pointing at
Mulder. Laid casually across a folded arm. Mulder reacts on
seeing it.

WELL-MANICURED MAN
The men I work with will stop at
nothing to clear the way for what
they believe is their stake in the
inevitable future. I was ordered to
kill Kurtzweil. A necessary action
to protect my grandchildren's lives.
(beat)
I might just as easily kill you.

Mulder is recoiling as he says this. Then, without hesitation
in one quick move, he SHOOTS the Driver in the head.

The blood spattering on the front windshield -- and on Mulder
who has barely had a chance to react.

WELL-MANICURED MAN
Trust no one, Mr. Mulder.

Mulder looks at The Well-Manicured Man, expecting to be next.
And for a moment, we do too. But the W.M.M. simply opens the
door and steps out of the car. Holding the door open for
Mulder who is still frozen by the actions that went just
before.

EXT. DESOLATE D.C. STREET - NIGHT

Mulder steps out of the car, holding the felt envelope. The
Well-Manicured Man stands with a sober, intense look.

WELL-MANICURED MAN
(with quiet force)
You have precious little time. What
I've given you the alien colonists
have no idea exists. You hold in
your hand the power to end the
project.

MULDER
How?

WELL-MANICURED MAN
The vaccine you hold is the only
defense against the virus. Its
introduction into an alien environment
may have the power to destroy the
delicate plans we've so assiduously
protected for the last fifty years.
(beat)
Or it may not.

MULDER
What alien environment?

WELL-MANICURED MAN
Find Agent Scully. Save her. Only
her science can save the future.

MULDER
What about you?

WELL-MANICURED MAN
My life is over.
(beat)
Go.

Mulder stands speechless for a moment. Until the W.M.M. points
the weapon he's still holding at him.

WELL-MANICURED MAN
Go now!

And Mulder does. Moving away from the car, looking back over
his shoulder. As the Well-Manicured Man gets back into the
limousine, closes the door. A moment later... THE CAR EXPLODES
INTO FLAMES, knocking Mulder to the ground.

ANGLE ON MULDER

The felt envelope has been jarred from his grasp. Its contents
loosed from inside: a piece of paper with COORDINATES on it
and an AMPULE and SYRINGE.

Mulder gets up, looks back. Then he picks up the envelope
and its contents -- and begins to run. Running as fast as he
can go. Until, far down the block, he disappears.

As the SCREEN DISSOLVES TO WHITENESS -- under which we hear
an ominous low end Dolby THX Big Screen rumble. The same
sound that opened our story.

Then there is movement, as the curvilinear line of a horizon
becomes visible, bi-secting the screen between the white of
the earth and the white of the sky. We are:

EXT. POLE OF INACCESSIBILITY - ANTARCTICA

Across the expanse of whiteness, a DARK IMAGE appears on the
long flat horizon. Moving toward us. As a LEGEND appears, to
establish.

CLOSER ON A SNOW TRACTOR

Crawling across the harsh frozen land like a domed insect.

INT. SNOW TRACTOR

Agent Mulder sits behind the controls of the enclosed cabin,
several days growth on his face. Dressed in thick, bundled
outerwear. He maneuvers the vehicle to a stop. Reaching for
a handheld GPS monitor to check his position. Catching his
breath for a moment -- all movement is exertion in this
climate. Mulder stares hard out the front window, the wipers
beating time, but there is nothing out there but whiteness.
He wipes the fog from a side window with his gloved hand,
seeing nothing but more whiteness. Checking the GPS device
again, then reaching for the door latch.

RESUME WIDE EXTERIOR

Agent Mulder exits the vehicle, hopping down onto the
snowscape crust. Setting out on foot with the GPS device
held before him. In this forbidding environment he might as
well be taking a space walk -- without the security of a
lifeline. Which is the impression we get as his tiny figure
trudges across the ice, increasing the distance between
himself and the snow tractor.

MOVING WITH MULDER

Up a gentle grade, the snow tractor now behind him. Moving
into tight f.g. where he stops, seeing something now which
allows him to pocket the GPS device. Dropping instinctively
to his knees, so as to avoid being seen by:

MULDER'S POV

In the distance is an ICE STATION. A row of interconnecting
WHITE DOME TENTS, whose design is now familiar to us. There
are what look like snow tractors and other snow vehicles
parked alongside the structures.

RESUME MULDER

Pulling a compact pair of binoculars from one of his deep
jacket pockets. Training them on:

THE ICE STATION - BINO MATTE

PANNING across the domes and vehicles, where there is no
sign of personnel -- until MULDER PANS off the building,
finding in his field glasses AN APPROACHING SNOW TRACTOR.
Moving across the landscape toward the ice station. When it
pulls to a stop, A MAN exits out of one of the domes: THE
CIGARETTE SMOKING MAN. Moving to the vehicle and getting in.

The vehicle reverses now, transporting the CSM back away
from the ice station.

CLOSE ON MULDER

Taking the field glasses away from his eyes. The excitement
he feels expressed now in his breathing, which has become
harder and shallower. Mulder rises, beginning to move the
still great distance between himself and the ice station.

CUT TO:

WIDE ON SCREEN

Mulder moving slowly across the white horizon toward the
domed tents.

LOW ANGLE ON MULDER'S FEET

Moving cautiously, and with effort on the snowscape crust.
CAMERA RISING up to Mulder's face, determined and watchful.

FOLLOWING MULDER

The ice station still several hundred yards in the distance,
when MULDER SUDDENLY FALLS OUT OF FRAME, disappearing into a
hole in the snowscape crust that just moments earlier had
been stable footing.

HARD CUT TO:

INT. SNOW ICE BUBBLE - CONTINUOUS

Where Mulder's body falls through a ceiling of snowscape
crust, landing on his back with a THUD on a hard surface. It
takes him a moment to catch his breath, somewhat reminiscent
of Stevie at the beginning of the picture. Wincing through
the pain. Until he turns over, regaining his wits, and his
bearings.

NEW ANGLE

Mulder has fallen on a hard, narrow metallic structure. Its
dull black color a stark contrast to the white ice it's
encased in. The bubble has been created by air coming out of
vents in the structure, carving out corresponding patterns
in the ceiling; softening the ice and snow above.

CLOSER ON MULDER

rising to his knees, the AIR from one of these vents blowing
onto his face. Pulling off the hood of his jacket, looking
deep into the vent which is open, ungrated.

And big enough for a man to crawl into. Which, after
considering the hole he's fallen through high above him, is
really Mulder's only choice.

CUT TO:

INT. RIBBED CORRIDOR DUCT - CONTINUOUS

Mulder pulls himself forward through the ribbed corridor
duct with his elbows, moving lizard-like into the constricted
darkness.

CUT TO:

INT. UPPER RIBBED CORRIDOR - CONTINUOUS

Above a frozen ice lith, Mulder's head appears, squeezing
his shoulders and body out of a venting. With effort, Mulder
slides out of the small space, using some architecture above
as a handhold. Pulling his legs free and dropping onto the
floor.

MULDER'S POV

It is dark in here, the features of the corridor ill-defined.

RESUME MULDER - WIDER

Mulder pulls a flashlight from a pocket in his parka, snicks
it on. Its beam reflecting off tall frozen liths of ice
regularly spaced on both sides of the corridor.

NEW ANGLE ON MULDER

Training the light down the corridor, which curves away in
both directions. Then pointing it at something right in front
of his nose: something that gives him a start.

Reaching up with his hand to brush away frost from the lith.
Finding A MAN FROZEN IN ICE. Naked, his eyes staring into
some long-forgotten distance. His hair is dark, his flat
features familiar to us. He is the prehistoric hunter from
the opening scenes of the movie. His flesh has the opaque,
see-through quality that we've seen before. Inside of which,
frozen along with the man, is an EMBRYONIC CREATURE.

REVERSE ON MULDER

Reacting to this sight, then moving off down the corridor,
his pace quickened.

CUT TO:

EXT. POLE OF INACCESSIBILITY - ANTARCTICA

LOW ANGLE on the great white expanse. Across which a snow
tractor is moving. PANNING with the vehicle to...

Mulder's snow tractor, where the first tractor stops, its
headlights trained on Mulder's ride.

A beat, then the discovering machine moves out again,
following the tracks that Mulder has left, which brings it
STRAIGHT TOWARD CAMERA. As it passes us, we can see the DRIVER
and the Cigarette Smoking Man sitting in the cabin. As we:

CUT BACK TO:

INT. UPPER RIBBED CORRIDOR - CONTINUOUS

MULDER comes to the end of the dim ice corridor where soft
light is penetrating through several low, arched openings.

Mulder has to drop down to his knees to see into the openings.

ANGLE FROM OPPOSITE SIDE OF THE BALCONY PASSAGEWAY

Where Mulder is seen looking TOWARD CAMERA. The Balcony
passageway is short. Mulder drops to his stomach again,
pulling himself through, toward us. When he reaches the
opposite end, Mulder pokes his head out, looking up in wonder
at:

INT. CENTRAL THEATER - BALCONY - CONTINUOUS - WIDE ON

A STADIUM-SIZED DOME -- (CGI SET EXTENSION)

Imagine a domed sports arena -- this is the scope and scale
of the space that Mulder has penetrated. We see him as only
a small speck on a balcony midway between floor and ceiling.
Pulling himself out of the balcony passageway, which is like
countless other passageways. Which are actually ventilation
ports.

ANGLE OVER MULDER

Pulling himself to his feet. Beholding the space before him.
Looking down to the center floor where a large central theater
gives off a light different from elsewhere in the dome. An
icy, bright glow. Leading down to the central theater far
below are several LARGE TUBULAR SPOKES. (One of which leads
up right next to Mulder's position.)

ANGLE ON MULDER

Reacting to this. Then something captures his attention.

MULDER'S POV

There on the floor, far down below, is THE BUBBLE LITTER
Scully was transported in. (NOTE* Scully's clothes are still
in the bubble litter.) Standing out as a rather human artifact
against the otherwise dull gray bulwarks and architecture
surrounding it.

INT. CENTRAL THEATER - BALCONY - CONTINUOUS - WIDE ON MULDER

looks beside him where the joint that connects two sections
of one of the long tube spokes is designed with an allowance --
a separation that might allow a man to slip through the joint
into the tube. Which is what Mulder does here.

CUT TO:

INT. TUBULAR SPOKE - CONTINUOUS

WIDE ANGLE FROM INSIDE TUBE TERMINUS

Mulder squeezing through into the tube, looking down past
what looks like a chair lift-like track, on which the chairs
are actually empty cryopod mechanisms; the same structures
Mulder saw in the ribbed corridor in which bodies were encased
in ice. Except these cryopods are empty.

Mulder begins to creep down TOWARD CAMERA, picking his way
around the empty cryopods.

REVERSE ANGLE ON MULDER

Creeping away from us. Heading toward:

INT. LOWER CRYOPOD CORRIDOR

Where Mulder pops out at the lower tube terminus. Which leads
into this bulwarked corridor at the base of the large stadium
structure. Where:

REVERSE ON THIS CORRIDOR

Where Mulder is walking past frozen CRYOPODS hanging on a
track. Each icy pod containing a HUMAN BODY frozen within.
Partially visible behind clear blue ice. But these are modern
men, and women. Their expressions a confused horror, as if
they have been somehow frozen alive. They are slowly tracking.

Walking along the slowly moving carousel of frozen humanity.
Stopping, turning, almost as if having sensed:

NEW ANGLE OVER OPPOSITE CRYOPOD

PUSHING IN ON MULDER'S FACE. Recording the horror and fear
he's experiencing, on seeing:

CAMERA RISING UP A FROSTY WALL OF BLUE ICE

Where a woman's body is encased, its naked features hidden
behind the opacity of the newly frozen blue crust. But whose
face is unmistakable as that of Agent Scully's. Frozen in a
similar expression of far-away horror, her eyes cast slightly
heavenward.

MULDER

hurries to get his jacket unzipped. Removing the FELT
ENVELOPE, removing the syringe body, the needle and the
AMPULE.

Hastily putting the syringe together, getting the needle
poked into the soft rubber cap of the ampule. Bleeding the
syringe now, the substance inside squirting out of the end
of the needle onto the floor of the ship.

And the moment it does, the whole floor SIZZLES like water
being dropped onto a hot skillet. Spreading out from Mulder
in every direction. A VIOLENT CHEMICAL REACTION, as predicted
by the man who gave him this substance. A moment later the
entire structure Mulder is in SHUNTS. Shuddering violently
and setting up a low-end RUMBLE. Causing Mulder to
accidentally drop the syringe.

LOW CLOSE ANGLE

on the floor, where the syringe hits and bounces, but does
not break or leak. Mulder scrambling into frame to re-collect
it. Seeing the floor where the liquid from the syringe hit --
where it has been ETCHED AWAY by the substance.

EXT. HULL OF SPACESHIP/ICY BUBBLE - CONTINUOUS

Where Mulder crawled into the duct. Condensed air is streaming
out of all the ducts now. The ice and snow above beginning
to melt from the force and heat of the blasting all.

CUT BACK TO:

EXT. ICE STATION - CONTINUOUS

We can hear low end rumble and vibration. TWO DOZEN MEN are
streaming out of the dome tents. Moving to their carious
snow tractors and starting the vehicles.

A small exodus, the tractors pulling out of camp in a rush.
Heading off in various directions.

CAMERA FINDING THE CIGARETTE SMOKING MAN moving to his
tractor, with THE MAN WHO SHOT MULDER. Taking the last drag
of his cigarette before throwing it into the snow. He stares
down at it a moment, as if caught in the grip of some emotion
conflicting with duty.

The Man who shot Mulder inside the tractor now, throwing
open the door for the CSM.

MAN WHO SHOT MULDER
C'mon. It's all going to hell.

He climbs up onto the vehicle, gets in and closes the door.
And the vehicle pulls away as we:

CUT BACK TO:

INT. LOWER RIBBED CORRIDOR - CONTINUOUS - AGENT MULDER

Back on his feet, SMASHING now at the crust of brittle blue-
ice that encases Scully. BASHING, SMASHING and then finally
breaking through the hard outer later, its inner slushy
contents spilling out of the puncture that exposes Scully's
face and shoulder. Watery aqua-tinted liquid drains from her
mouth and nose. But Scully is not conscious, and there is no
indication she is even alive, her face frozen in a blank,
almost beatific expression.

OVER MULDER TO SCULLY

As he plunges the needle into Scully's arm at the front of
her shoulder. To which there is an immediate reaction -- as
if given a shot of adrenalin. Her eyes blinking away the
cold moisture.

MULDER
Scully --

Scully's lips move goldfish-like as she tries to suck in
air, an almost fearful expression overcoming her like a
swimmer who's been held under too long. But no words are
coming out yet.

MULDER
Breathe -- can you breathe?!

Scully is straining to do just that -- when liquid suddenly
SPEWS from Scully's mouth. And she begins to cough and gag --
taking big gulps of air as her eyes focus on Mulder as if on
a phantom, or a miracle.

Finally faint words ushering forth, whispering breaths that
Mulder cannot discern.

MULDER
What?

CLOSE ON MULDER AND SCULLY

As he leans into her, putting his ear up to her mouth. As
the softest sound comes out in Scully's frosty breath.

SCULLY
Cold...

MULDER
Hang on. I'm going to get you out of
here.

As she continues to suck air.

CUT TO:

EXT. HULL OF SPACESHIP/ICE BUBBLE - CONTINUOUS

The hot air blasting from the ducts is causing the ice pack
above to melt and collapse.

CUT TO:

EXT. ICE STATION - CONTINUOUS - WIDE

As the ice tractors head away in all directions from the
domed structures. A misty fog now emanating from the seams
of the domes. Heat and condensation.

CUT BACK TO:

INT. UPPER RIBBED CORRIDORS - CONTINUOUS

Filling with misty condensation, too. The small beams of
light that lighted Mulder's way earlier are now small shafts
piercing the gathering interior cloud. Illuminating:

THE PREHISTORIC MAN

Frozen in his icy pod, the hard semi-translucent surface of
which is now etched with small streams of water running to
the floor. Everything is melting and in motion.

Including the CREATURE which is vaguely visible inside the
frozen man. It TURNS slightly inside the body, like an animal
in utero. Its eyes now looking at us, blinking. As it presses
against its own fleshy container, the body of its human host.

CUT BACK TO:

INT. LOWER RIBBED CORRIDOR - CONTINUOUS

It, too, is filling with misty condensation.

VARIOUS SHOTS

Of the ice encasing the human forms sweating and melting.

CAMERA ADJUSTING UP TO REVEAL Mulder pulling Scully along in
a fireman's carry. She is dressed now in Mulder's snow parka
and the outer nylon pants he was wearing. Scully's legs are
weak beneath her. Her body limp, but not lifeless. Mulder
laboring to get her up the INTERIOR of the steep curving
cylinder spoke, as the air fills with mist.

INT. LONG TUBE TERMINUS

NEW ANGLE ON MULDER AND SCULLY - LOOKING DOWN THE TUBE

Moving toward along the now-halted cryopod carrier hanging
from the transport track. Mulder struggling against his own
fading energy, pulling Scully up toward:

ANGLE ON BALCONY/CATWALK

Mulder pushing Scully up, though she seems to have at least
some limited ability to do this on her own. The DEEP, LOW
RUMBLE we heard in the open frames of the movie reaching
full volume now. The whole environment vibrating as Mulder
boosts Scully up on the catwalk. Climbing up over the
prostrate body. Picking her up from the floor, pulling her
back into the fireman's carry.

INT. LOWER RIBBED CORRIDOR - CONTINUOUS

Where the bodies are all beginning to melt.

VARIOUS SHOTS of rivulets of water forming on the icy liths
that encase the bodies. The water from them seeping onto the
circular central floor. The condensing mist thick and
swirling.

CLOSE ON PODS

Where the body it houses seems to move. Though AS CAMERA
PUSHES IN we see that it is the creature inside this body
moving, as if the heat and the defrosting are bringing the
embryos to life.

INT. UPPER RIBBED CORRIDOR - CONTINUOUS - ANGLE DOWN

CORRIDOR

Scully's head pokes through now, as she's pushed through the
opening that Mulder used earlier to get into the vaulted
arena. Pushed in fits and starts until she's all the way
through. Mulder now straining and squeezing to do the same
on his own.

The corridor is filled with heavy condensed mist now as Mulder
finally slips out of the low passageway, trying to get his
bearing now as he huddles low over Scully. Turning his
attention to her as she COUGHS HOARSELY -- in some kind of
acute spasm of pain -- but alive.

MULDER
We've got to keep moving.

SCULLY
(weakly)
Where are we?

MULDER
You got me. But I think I know what
they did with Jimmy Hoffa.

Scully is struggling now as Mulder tries to pull her to her
feet again. In real physical pain.

SCULLY
I can't...

Scully can't finish speaking, her voice becoming a hoarse
cough.

SCULLY
(barely a whisper)
I can't go any farther.

MULDER
Yes you can. You're going to make
it, Scully.

Mulder hauling Scully up off the floor AWAY FROM CAMERA now.

NEW ANGLE ON RIBBED CORRIDOR

CAMERA MOVING THROUGH SPACE in the empty corridor, moving at
a speed equal to Mulder and Scully's as they round the semi-
circular ribbed corridor to meet us. Coming out of the mist,
Scully back in the fireman's carry. Approaching the place
where Mulder slipped down into the corridor.

MULDER STOPPING AND SEEING:

THE BODY IN THE MELTING ICE LITH

As it too moves, the embryonic creature inside it turning
slightly, as if coming awake.

REVERSE ON MULDER

Reacting to this -- and then to Scully who suddenly starts
GASPING FOR BREATH.

Falling now from Mulder's grasps as her legs buckle and she
goes down.

LOW ANGLE ON SCULLY

Her face is going red, straining for air. Her eyes rolling,
seeking relief. As Mulder drops down beside her.

MULDER
Shit --

But she is unable to answer. Mulder hastening to unzip her/his
jacket. To get to her neck and find a pulse.

MULDER
Scully --

Mulder cannot find a pulse. Scully straining harder now as
Mulder reaches his fingers into her mouth, clearing her
passageway. Moving on top of her now, and pumping forcefully
on her chest -- trying to get air into her. One -- two --
three.

And putting his mouth down to hers (FINALLY!), breathing his
life into her. Pulling away from her to see that he is
unsuccessful at this -- that Scully is continuing to strain.
Pumping her chest again --

MULDER
You're not dying on me now -- godammit
godammit godammit --

As he pumps her chest. Placing his mouth over hers again and
BREATH -- BREATH -- BREATH.

Lifting his mouth from hers, feeling for a pulse again,
putting his eat down to her mouth, praying he'll feel the
breeze of a breath. Nothing. While:

ANGLE OVER HIM TO THE CREATURE IN THE ICY POD

As it moves again, MORE VIOLENTLY NOW. As the ice around it
continues to melt and fissure.

RESUME MULDER

His hands going to a pocket on the inside of the jacket Scully
is wearing -- his jacket -- finding again the syringe that
he used on Scully. It is still partially full of vaccine.
Mulder finding this, getting ready to use it when --

-- Scully's body suddenly comes back to life beneath him.
Labored breaths which turn into a coughing spasm. Mulder
breaths relievedly for a moment, watching Scully coughing,
coming back to life. Her eyes trying to focus on him, finding
him. Seeing his labored relief. The panic melting away.

SCULLY
(weakly, pained whisper)
Mulder...

She wants to tell him something. He leans down next to her.

SCULLY
(continued weak)
Had you big time.

Mulder has but a moment to savor this weary victory though
when he REACTS to something, that causes him to WHIP HIS
HEAD AROUND.

MULDER'S POV DOWN RIBBED CORRIDOR

Through the condensed mist he can see CREATURES BEGINNING TO
HATCH, sprouting from the melted ice-encased bodies they
have gestated in. Their THREE FINGERED HANDS beating at the
soft ice. Their powerful feet kicking at it, too.

RESUME MULDER

Looking the other way down the corridor, seeing --

MORE CREATURES

The slushy material that makes up the inner core spilling
out with them as the creatures KICK out of their tombs.

RESUME MULDER

Lifting Scully up with all his strength he has left in him.
He's got to get her overhead now, back up the venting that
he slipped down from. She is weak and of little help.

Mulder gets her propped up on his strength so that he can
use the power of his legs to boost her toward the opening.
Which puts him face to face with THE EMBRYONIC CREATURE. Its
eye looking directly at him, blinking, before it goes into
another FITFUL SPASM inside its host body.

ANGLE DOWN FROM VENT

Where Scully is boosted up TOWARD CAMERA. Her hands reaching
feebly for something to grab onto. Finding a handhold.

MULDER
Keep breathing, Scully.

She utters something guttural, unintelligible as the next
thrust up from Mulder gets her head and shoulders into the
opening of the vent.

RESUME MULDER

Beneath her, pushing with all his might. His hands under her
shoes now, forcing her up into the vent like a rolled carpet
into the rafters.

RESUME SCULLY

Struggling with her arms and elbows, barely conscious, but
somehow able to manage herself forward.

RESUME MULDER

Pushing Scully up the last little way. Then reaching up to
find a handhold for himself. Grabbing hold and lifting himself
as one of his feet kicks at the ice -- where the creature he
was just face to face with BURSTS from its icy pod. One hand,
then the other shooting out of the ice where they have broken
through the host. Ripping open the front of the body,
including the man's face. Making a slimy, gaping tear in
what was formerly flesh.

Its hands grabbing at Mulder as he thrashes to free himself
from it getting a grip.

As Mulder struggles to pull himself up, fighting off the
creature which he cannot see beneath him.

RESUME CREATURE

As it emerges from the ice, still grasping and TEARING at
Mulder's legs with its claws. But as it BURSTS COMPLETELY
from its place, Mulder is able to pull himself up and into
the vent in one athletic movement.

ANGLE FROM INSIDE THE VENT - SCULLY

lies motionless in the ducting, her body forced forward by
Mulder's in this last surging move.

TIGHT ANGLE ON MULDER

Drawing his legs up quickly inside. Not wasting a moment
shoving Scully's butt forward in front of him.

MULDER
Scully -- you breathing?

RESUME SCULLY

Letting out another low, guttural sound -- which STRAINS out
of her with each push forward.

CUT TO:

EXT. SNOW/ICE BUBBLE - CONTINUOUS

Scully's head and arms push up through the vent where Mulder
first entered. The ice and snow surrounding it, which had
created the bubble structure, have melted and fallen. So
that above Scully's larger hole has opened up to the surface.
The air is full of condensation, swirling around them.

ANGLE FROM ABOVE - THROUGH THE HOLE IN THE ICE

Where, through the swirling steam we see Mulder push Scully
clear of the vent. Climbing free himself now. When the surface
they are upon SHUDDERS AND QUAKES. As if it has come unloosed,
destabilized.

And with this comes A MIGHTY FORCE OF STEAM from the vent
Mulder and Scully just crawled from. Blasting up past them
with terrible HISSING FORCE. Causing Mulder to throw Scully
away from its superheated energy.

Pulling her up the now climbable embankment created by the
melting snow; pulling her toward the surface of the ice sheet.

CUT TO:

EXT. POLE OF INACCESSIBILITY - ANTARCTICA - WIDE

Where a wide radius of steam rises from similar and regularly
spaced holes in the ice sheet, defining a circular structure
beneath. The White Domed Tents of the ice station are in the
center of this, dwarfed by the enormity of the melting radius.

RESUME MULDER AND SCULLY

Mulder pulling her up the softened and collapsed snow. The
hot steam blasting up with hideous force behind them. The
sound DEAFENING.

NEW ANGLE OVER MULDER AND SCULLY

Pulling her to the surface of the ice sheet where behind
them in the distance the ICE STATION can be seen through the
atmosphere of condensed air. When suddenly the ice beneath
it gives way and the ice station falls away, caving in to
the center of the radius. Which is what begins to happen to
the rest of the ice sheet that spreads out to where Mulder
and Scully are standing. Causing Mulder to realize:

MULDER
(over the din)
We've got to run!

She is weak, but is able to find her footing. Dragged behind
Mulder as the ice behind them begins to break away, falling
down into an ever-expanding center and sending up magnificent
geysers of steam created by the superheated surface below.

WIDE ON SCENE

Mulder and Scully running AT CAMERA just ahead of the
collapsing center. The mass of ice around them beginning to
break up. Steam vents erupting instantaneously everywhere.

CUT TO:

HIGH ANGLE ON SCENE

A black dome is becoming visible through the giant circle of
steam, in the ever-widening center hole that Mulder and Scully
are running from. Which is chasing them to the edge of the
radius.

CUT TO:

ANGLE FOLLOWING MULDER AND SCULLY

As Mulder struggles to pull Scully fast enough to outrace
the icy debris that is tumbling away just behind them. Large
chunks falling and bouncing off the superheated surface below,
blown back up like water being dropped onto a hot skillet.

CUT TO:

EXTREMELY HIGH AND WIDE

The Agents mere specks fleeing the circle of churning ice
and steam. As it cascades away in three hundred and sixty
degrees. From here the deafening sound if absorbed into the
vastness, tricking us of the reality of the massive movement
of frozen material down below.

CUT TO:

ANGLE LEADING MULDER AND SCULLY

As Scully loses her footing, falling to the ground. Mulder
dragging her back up to her feet, though, maintaining forward
momentum. While behind them the thundering force of the
superheated melting snow and ice is moving in on them.

And then suddenly -- MULDER AND SCULLY are gone!

The radial edge of the falling snow continuing only a few
feet beyond where they disappeared. The violent upheaval of
snow abating but slightly. Beat, beat...

THEN THE AGENTS APPEAR AGAIN. Thrust upward by a RISING BLACK
PRECIPICE which catapults them off its leading edge. As they
fall the distance to the sheet of ice below.

CUT TO:

LOW ANGLE ON ICE SHEET

Where the Agents hit hard on the ice sheet. The rain of ice
chunks pounding all around them. As the monolithic wall of
the craft continues to rise.

Mulder trying to get to Scully in this hail of debris which
he shields his face from.

WIDE ON LEADING EDGE

Rising faster now out of the earth as it begins to
increasingly shed and break free of the frozen weight it
carried. Until the bottom of the edge of the wall appears,
lifting clear of the ice sheet and the crater that held it.

CUT TO:

EXTREME HIGH WIDE ANGLE ON SPACE SHIP

Where now we see the scope and shape of the ship, which is
breathtaking. The domed center sloping off to a gentle
gradient, which is the surface that Mulder and Scully were
running on. The ship is now slowly rotating as it moves upward
in a gently rising hover.

Mulder and Scully are on the ice sheet below.

RESUME MULDER AND SCULLY

Scully face down on the ice. Mulder lifting his head when
THE HEAVY SHADOW of the ship comes over them. Looking up
from this position to see:

THE SPACE SHIP

Moving slowly, laterally just overhead. Thunderously rumbling.
The dark detail of its underside visible in this angle. As
it continues to rise, the shadow passing over Mulder and
Scully.

CUT TO:

NEW ANGLE OVER MULDER AND SCULLY

Scully is still face down on the ice, as Mulder watches the
ship's shadow cast over Mulder's SnowCat which is still parked
in the distance. Moving up and off.

The ship continues up into the Antarctic sky where it rises
toward the sky where it begins to get WHITEHOT. Transforming
itself into pure energy. It is visible for several moments
during transformation. Then it disappears completely. As it
does the RUMBLE, which dopplers across the white, barren
landscape. Then it is gone.

MULDER

Watches this then lays his head down on Scully's back. He is
spent, at the brink of complete exhaustion. His whole body
heaving. But now starting to shiver, and to lose
consciousness.

Scully's body is motionless beneath him, for a moment we
might believe that this is the way it might end. Out here on
the ice with Mulder and Scully freezing to death. A chill
wind blows off the Antarctic plain, the same LOW RUMBLE, the
only taint of silence in vastness of this literal end of the
world.

Then Scully coughs -- the same hoarse cough. She's alive.
Struggling to consciousness. Her head lifting slightly,
TURNING TO CAMERA. Her eyes blink open and she coughs again.
Feeling Mulder's weight on top of her, unaware of his
condition or even where she is.

SCULLY
(weakly)
Mulder...

There is no answer. Scully struggling to pull herself out
from under the weight of his body. Rolling over so that her
face is opposite Mulder's now. Seeing that he has lost
consciousness. Finding the strength to roll him over, so
that she can cradle him and warm him.

HIGH WIDE ANGLE ON THIS SCENE

With the Snowcat a short distance away, Mulder and Scully in
each others arms. The way it should end.

FADE TO BLACK:

Silence. Longer than we would like. Long enough to make us
nervous, then certain, then angry. Then... we FADE UP a prelap
of the sound of a CRACKLING FIRE.

FADING UP ON:

EXT. ACRES OF CORN - MAGIC HOUR

TRACKING LOW WITH MEN IN FATIGUES, moving along the perimeter
of the corn field as they set fire to the corn stalks with
small handheld butane burners. While other Men in Fatigues
are moving between the rows dousing the furrows with
accelerant.

DISSOLVE TO:

INT. FBI FIELD OFFICE - DALLAS - NIGHT

The large room filled with the evidence and debris from the
bombing. It is dark. Until A FLASHLIGHT BEAM pricks the
blackness, moving toward us into f.g. Carried by the man we
now recognize as The Man Who Shot Mulder. He moves with
directness, purpose. Finding what he's looking for amid the
cataloged material, he finds on a work bench. Next to the
microscope Scully had used. It is the BONE FRAGMENTS, held
in an evidence container.

He pockets them and exits as quiet and directly as he entered.

DISSOLVE TO:

EXT. ACRES OF CORN - WIDE - CGI PLATE

The sky aglow with orange flames as the crops burn to the
ground. We hold on this shot, PRELAPPING the sound of:

JANA CASSIDY'S VOICE
...in light of the report I've got
before me; in light of the narrative
I'm now hearing...

INT. FBI OFFICE OF PROFESSIONAL REVIEW - DAY

Jana Cassidy sits at the head of the desk, just as when we
first met her.

She is flanked by the other members of the review board,
including A.D. Skinner who sits at the end of the table.

Cassidy flips through a file she's referred to before she
continues. Looking up with consternation as she resumes.

CASSIDY
...my official report is incomplete
pending these new facts I'm being
asked to reconcile. Agent Scully...

AGENT SCULLY

Sitting where she last sat, at the small table. The seat
next to her conspicuously empty. Her face bears the signs of
slight frostbite, somewhat healed. Her expression is even,
her attitude composed, but her eyes are filled of dark,
restrained defiance.

CASSIDY
...while there is direct evidence
now that a federal agent may have
been involved in the bombing... the
other events you've laid down here
seem too incredible on their own,
and quite frankly implausible in
their connection.

PANNING THE OTHER BOARD MEMBERS -- curious, bemused like
Cassidy. Skinner shifts uncomfortably.

SCULLY
What is it you find incredible?

CASSIDY
Well... where would you like me to
start? Antarctica is a long way from
Dallas, Agent Scully. I can't very
well submit a report to the Attorney
General that alleges the links you've
made here. Bees and corn crops do
not quite fall under the rubric of
domestic terrorism.

SCULLY
No, they don't.

CASSIDY
Most of what I find in here is lacking
a coherent picture of an organization
with an attributable motive. I realize
you're very lucky to be alive Agent
Scully. The ordeal you've endured
has clearly affected you -- though
the holes in your account leave this
panel with little choice but to delete
these references from our final report
to the Justice Department. Until
which time hard evidence becomes
available that would give us cause
to pursue such an investigation.

Scully has her hand in her coat pocket now. Moving around
the table and approaching Cassidy. Removing something which
she puts on the desk in front of her. A small vial.

SCULLY
I don't believe the FBI currently
has an investigation unit qualified
to pursue the evidence in hand.

Cassidy picks up the vial, studying the contents of this
vial: the dead bee that stung Scully. Studying it as Scully
turns and moves to the door, without permission, no further
adieu.

ANGLE TO INCLUDE A.D. SKINNER

Watching Scully exit.

CASSIDY (O.S.)
Mr. Skinner...?

CAMERA PIVOTING TO INCLUDE CASSIDY. Looking at him.

CASSIDY
Please ask Agent Scully to come back
to this hearing. We're not quite
finished.

As Skinner rises, unsure of the intent behind this directive,
we:

DISSOLVE TO:

EXT. WASHINGTON D.C. - DAY

We are JUST ABOVE THE TREETOPS. The Capitol Dome is in the
far distance. CAMERA CRANING DOWN to find Mulder sitting by
himself on a park bench. We are WIDE. There is no one else
around.

Until the Cigarette Smoking Man appears. Walking through the
otherwise deserted park. Joining Mulder on the park bench.

CLOSER ON MULDER, THE CIGARETTE SMOKING MAN

They do not speak for several moments. A quite tension as
the CSM lights up a trademark smoke. Inhaling, exhaling.
Then:

CIGARETTE SMOKING MAN
Congratulations on your survival.
Your life is worthless now, I hope
you know that.

MULDER
And yours?

CIGARETTE SMOKING MAN
(derisive)
You think you've stopped it. What
I've worked for fifty years to create.
You haven't stopped it. You can't
stop it.
(takes a drag)
You're just one man.

MULDER
You're wrong.

WIDE ANGLE

Mulder rises from the bench heading TOWARD CAMERA. The CSM
rising, watching him.

As Mulder continues toward us. ADJUST TO REVEAL Agent Scully
in the f.g. Mulder moving to her as the CSM watches from the
distance. Their eyes meet, an unspoken restored bond exchanged
in this moment. Before Mulder takes Scully by the arm, leads
her off. Leaving the CSM standing alone in the distance. As
we:

DISSOLVE TO:

EXT. CORN FIELDS/WHITE DOMES - TUNISIA - DAY

TRACKING LOW WITH A PAIR OF FEET

The wearer of them sporting peasant sandals. We realize
shortly that while the feet are moving across sandy ground,
that the foliage in the near b.g. is corn. And that the person
we are tracking with is passing row after row of stalks.

CAMERA RISING AS IT TRACKS

REVEALING A TUNISIAN MAN dressed in peasant clothes. He is
carrying a piece of paper. Moving with hasty purpose. Stopping
at the end of one of the long rows of corn where CONRAD
STRUGHOLD is coming toward him. Making his way between rows
of stalks. The Peasant waits patiently as Strughold
approaches, handing him the piece of paper.

Strughold reads it, his otherwise steely countenance
reflecting a disturbance seen only in the slight narrowing
of his eyes.

He looks up at the Peasant and says something to him in
Tunisian Arabic. Said as command, which causes the Peasant
to nod dutifully and move off as he came.

Strughold stands for a moment, then crumples the paper
slightly and drops it. Moving off down the same corn row in
which he approached.

CAMERA DROPPING TO THE GROUND where we find the paper on
which we see a flat section that is not so crumpled we cannot
read the words: X-FILES RE-OPENED. STOP. PLEASE ADVISE. STOP.

CAMERA RISING NOW. Rising up past the stalks. Where we can
still see Strughold walking. RISING UP AND UP to reveal ACRES
AND ACRES OF CORN. Many times more than we had seen
previously. Stretched out across the Tunisian Desert, ending
only where THREE WHITE DOMES stand on the distant horizon.

Off this image we FADE OUT.

THE END

Contact | Disclaimer
Copyright © WeeklyScript.com | Scripts Copyright © their respective owners