X-Files Logo 'Provenance'

Story Code '#9X10'
by Chris Carter
and Frank Spotnitz
X-Files Cast

SCENE 1 - U.S. - CANADIAN BORDER, BURKE COUNTY, NORTH DAKOTA

(In the darkness, two officers of the U.S. Border Patrol sit in their car. The continuous garbled radio transmission breaks the silence of the night)

RADIO DISPATCHER:
This is sector station to unit one. Unit one, please report.

DRIVER AGENT:
Unit one reporting. No traffic or unusual activity, sector station.

AGENT DALEY:
Tell her my ass is freezing off and I need someone out here to get the blood circulating.

DRIVER AGENT:
Sector station, Agent Daley here has a very special request.

(AGENT DALEY turns to glare at his partner. His partner grins and shows him the mike)

DRIVER AGENT:
The mike's off, man.

AGENT DALEY:
Don't scare me like that, man.

DRIVER AGENT:
Aww, come on. Keeps you awake, don't it?

AGENT DALEY:
Yeah.

(AGENT DALEY looks through his night binoculars to the distance where he sees movement)

AGENT DALEY:
Something moving.

DRIVER AGENT:
Where?

(PASSENGER AGENT hands the binoculars over to the DRIVER AGNET)

AGENT DALEY:
Coming right through the trees. Straight ahead. See it?

DRIVER AGENT:
Got it!

(The two officers take off in their SUV after the lone rider on the motorcycle in pursuit. The cyclist sees the officers and takes off)

AGENT DALEY:
(On radio)Unit one to sector station we are in pursuit... in pursuit of an illegal border crossing.

(THE AGENTS quickly catch up with the MOTORBIKE RIDER and continue to tail him. With frequent backward glances, THE MOTORBIKE RIDER manages to stay ahead of THE AGENTS. Suddenly, the MOTORBIKE turns off of the road and into the open field. The SUV manages to keep up with the MOTORBIKE)

AGENT DALEY:
Rabbit's running for the hole.

(THE MOTORBIKE RIDER doesn’t let up and keeps going through the field and into the trees. The two go some distance until finally the SUV stops)

AGENT DALEY:
End of the road, buddy.

(The MOTORBIKE RIDER glances back and notices that the SUV stopped. He continues on over the hill and into the ravine where he hits the ground. The bike explodes and the agents run to where they can see the damage. They run back to the vehicle for help and we see the rider lying apparently dead on the ground. Pieces of paper spill from his backpack and we see that they have rubbings of the symbols found on the spaceship that Scully discovered in Africa)


OPENING TITLES


SCENE 2 - DEPUTY DIRECTOR KERSH'S OFFICE

(Just outside KERSH’S office, SCULLY enters and approaches his assistant’s desk)

SCULLY:
Agent Scully. He's expecting me.

KERSH’S ASSISTANT:
Go right in, Agent Scully. They're all waiting for you.

SCULLY:
‘They’?

KERSH’S ASSISTANT:
(Nodding) Mm-hmm.

(Inside KERSH’S office, KERSH, SKINNER, FOLLMER, TOOTHPICK MAN and several other FBI OFFICIALS are there. FOLLMER is the only one sitting)

SCULLY:
Sorry to keep you waiting.

KERSH:
Have a seat, please, Agent Scully...

SCULLY:
May I ask what this is about?

KERSH:
You can take a seat, please.

(SCULLY turns to close the door and to take a seat as instructed. Everyone else stays standing)

FOLLMER:
Deputy Director Kersh has called you here today to ask you a few questions, Agent Scully. All right, just a few... routine questions.

(SCULLY regards FOLLMER suspiciously, as her eyes glance to A.D. SKINNER. His expression tells us nothing at all. SCULLY looks back at KERSH who picks up an evidence bag with some paper in it. He holds the bag up)

KERSH:
Do you know what this is?

(SCULLY looks at the bag. She does recognise it but reveals nothing on her face. Everyone is watching her, waiting for a reaction from her. She gives them nothing)

SCULLY:
Should I?

(FOLLMER stands. He takes the bag from KERSH and hands it to SCULLY)

FOLLMER:
It's a simple question, Agent Scully. Do you know what this is?

(She stares at FOLLMER a moment, feeling the flush of disrespect. Then she fingers the paper through the plastic, its burnt edges. The symbols on the paper all too familiar to her. She looks at it, studies it - all for the benefit of the audience in the room. TOOTHPICK MAN and his associate behind him take particular interest in any reaction of recognition from SCULLY)

SCULLY:
I'm not sure.

KERSH:
But you've seen it before.

SCULLY:
Am I under suspicion here?

FOLLMER:
Assistant Director Skinner led us to believe that you'd be able to identify this piece of evidence.

(SCULLY looks to SKINNER. Again, he is blank-faced)

SCULLY:
And why is that?

FOLLMER:
Well, you once worked on the X-Files.

SCULLY:
Well, if this is an X-File then why don't you ask somebody who’s working on the X-Files?

FOLLMER:
Because we're asking you.

SCULLY:
(To KERSH) Where did you get these?

KERSH:
They were found during an illegal border crossing in North Dakota. Canada to the U.S.

SCULLY:
(Still to KERSH) An illegal border crossing by whom?

FOLLMER:
(Interrupting) As I said, we're asking the questions here today, Agent Scully.

(SCULLY doesn't take any notice of FOLLMER, she is staring straight at KERSH. She remains silent, she has what they want)

KERSH:
What A.D. Follmer is saying is your cooperation is important to this investigation, Agent Scully.

(SCULLY looks up. She realises that the FBI have no idea what it is they have in their hands)

SCULLY:
I'd like to cooperate. I-I'd be happy to cooperate. I just wish that you would tell me who or what you are investigating.

(SCULLY looks a tad happier with her new found knowledge)


SCENE 3 - X-FILES OFFICE

(SCULLY gets out of the elevator and hurries to the office, where we see DOGGETT and REYES talking)

SCULLY:
Were you called about this? Has A.D. Follmer been down here?

REYES:
Brad Follmer?

SCULLY:
Yeah. Going through the X-Files.

DOGGETT:
I doubt Agent Follmer even knows where we are down here Agent Scully.

(SCULLY heads toward the filing cabinet. She opens it and begins rummaging through the files in the back. She is looking for something specific)

REYES:
Why? What are you looking for?

(SCULLY pulls out a file. Inside the file, she pulls out a stack of papers with the rubbings she made from the space craft, which she hands to DOGGETT)

SCULLY:
These.

(DOGGETT examines the rubbings)

REYES:
What are they?

SCULLY:
Rubbings. Taken from the surface structure of a craft.

DOGGETT:
A craft?

SCULLY:
A spacecraft. Agent Doggett, if you can wrap your brain around that.

(DOGGETT sighs. He remains silent. She continues)

SCULLY:
They were found by fishermen off the western coast of Africa. Two years ago, I travelled there to study it and I took these.

DOGGETT:
What does this have to do with Follmer?

SCULLY:
This morning I was called into the Deputy Director's office and I was shown an exact copy of that rubbing. I was asked by senior staff to identify it for them.

REYES:
And where did they get them?

SCULLY:
A guy running the North Dakota border from Canada. Or so they say.

REYES:
What did you tell them about these?

SCULLY:
Nothing.

REYES:
And what aren't you telling us?

SCULLY:
That they're powerful.

DOGGETT:
We're talking about pieces of paper with marks on it.

SCULLY:
They're not just marks, Agent Doggett. It's writing. Words. Powerful words. And if the FBI has them and they're keeping their investigation of them a secret, then they have a sense of their power as well.

(REYES looks worried. She glances down at the rubbings in her hands, then glances over at DOGGETT)


SCENE 4 - BURKE COUNTY

(Daytime. DOGGETT pulls up in his rental. He exits, pulls out his badge and shows it to the agents standing around. He looks for the ASAC. The place is swarming with FBI agents in their FBI issue jackets)

DOGGETT:
Special Agent John Doggett out of Washington. I'm looking for the agent in charge out here.

(DOGGETT continues to walk around with his badge out)

DOGGETT:
Anybody point me to the ASAC?

(One of the agents points to a man speaking with two other men off to the side. DOGETT heads for the figure. On the way, he notices the motorbike tire tracks on the ground at his feet indicating speed and distance the bike was travelling at the time it went over the drop. He walks to the edge of the drop to look down at the distance the motorbike fell. Down below he notices more FBI agents in their FBI issue jackets. He looks at them then heads to speak with the ASAC, AD BRAD FOLLMER)

FOLLMER:
Agent Doggett...

DOGGETT:
Assistant Director.

FOLLMER:
I don't recall asking for your help or assistance on this case.

DOGGETT:
Well, the way it looks I'm the only agent outside of D.C. You didn't ask. What's the big attraction?

FOLLMER:
Last night, a man made an illegal border crossing from Canada. A chase ensued; ended here.

DOGGETT:
You know anything about him? About what he might have been doing?

(FOLLMER has a huge smirk on his face)

FOLLMER:
We're endeavouring to learn as much as we can, Agent Doggett.

DOGGETT:
Was he carrying anything interesting?

FOLLMER:
Like what, for example?

(DOGGETT takes a couple of steps closer to FOLLMER)

DOGGETT:
I don't know. Like, uh... maybe something you'd find in an X-File.

(FOLLMER smiles and shakes his head)

FOLLMER:
If that's what you came looking for, you came a long way for nothing.

(DOGGETT looks around indicating all the agents standing. He speaks softly now. FOLLMER’S not looking at him)

DOGGETT:
Then what's with the cavalry?

(FOLLMER turns to look at DOGGETT. He doesn’t understand where this is going)

FOLLMER:
Excuse me?

DOGGETT:
Lot of good shoes out here looking for what's got to be a dead man.

(FOLLMER doesn’t say anything)

DOGGETT:
Guy was killed, right?

(FOLLMER has a look on his face that indicates that he thinks that this is a silly question)

FOLLMER:
Man survives a fall like this, on fire? Not very likely...

DOGGETT:
(Louder) You got a body?

(FOLLMER thinks that DOGGETT is making fun of his inability to find the body of the dead motorbike rider)

FOLLMER:
We will, Agent Doggett. Like you say, I got the cavalry out here.

(DOGGETT realises that FOLLMER doesn’t have a clue. He smiles)

FOLLMER:
Find that funny?

DOGGETT:
Dead man up and disappearing? Happens every day, right?

(FOLLMER is silent)

DOGGETT:
At least it does on the X-Files.

(DOGGETT moves to pass FOLLMER. He’s stopped by FOLLMER putting a hand on his chest)

FOLLMER:
Trust me, Mister Doggett. This has nothing to do with you. Nothing to do with you or the X-Files.

(DOGGETT recognises a threat when he hears one. He’s not smiling anymore)

FOLLMER:
Stick your nose in this case I promise you, you'll live to regret it.

(FOLLMER turns away from DOGGETT, dismissing him. DOGGETT stays and watches FOLLMER for a while, then leaves. As DOGGETT moves away, FOLLMER finally turns to watch him. Down below, a burnt hand emerges from a pile of leaves. The RIDER gets up and coughs, he is burnt. He pulls a piece of metal with alien writing on it from his jacket and the hand holding the metal heals his burns)


SCENE 5 - AGENT REYES' RESIDENCE

(REYES opens her door. SCULLY walks in)

SCULLY:
Hi.

REYES:
Thanks for coming. I needed to talk to you about this in person.

(REYES looks concerned. SCULLY’S puzzled)

SCULLY:
Well, what is it?

(Later, SCULLY and REYES are kneeling on the floor with all the file papers in front of them. They’re both kneeling on the floor of REYES’ living room with papers all around them)

REYES:
What I'm reading in your field report on these rubbings, Dana-there's something I didn't understand. You say these were taken off a spacecraft. You determined they were words - writings. You didn't tell us you knew what they said.

SCULLY:
What little I read was through the help of an interpreter.

REYES:
But you interpreted them as text from the Bible, from the Koran scripture from religions around the world. And science, too. The periodic table of elements.

SCULLY:
Yes.

REYES:
And you wrote in your report they were millions of years old.

SCULLY:
Based on radiometric readings from fossils that were encrusted on the surface of the ship.

REYES:
Agent Scully, I know you've become more open-minded about these things... but do you know what it is you're saying here?

(SCULLY nods)

REYES:
If it were true these symbols wouldn't just be words... they'd be the very Word of God on the surface of an alien spacecraft.

SCULLY:
It'd mean that everything mankind believes in... is in question.

REYES:
And you believe this?

SCULLY:
I didn't. I mean, I-I refused to believe it. But now I think... I think there may be answers there.

REYES:
Answers to what?

SCULLY:
(Teary) Answers about my son. I know how that sounds. I have no one else to say it to. That I was meant to find these... somehow. These were meant for me.

REYES:
But why would the FBI keep that from you? From us? And what exactly do they want with them?

SCULLY:
Those are questions I can't answer.


SCENE 6 - FBI HEADQUARTERS, WASHINGTON D.C.

(Night. SKINNER’S on his way out. He exits his office and finds DOGGETT sitting on the couch in his assistant’s office)

DOGGETT:
You forget our extension? Or you just can't be bothered?

(DOGGETT stands)

SKINNER:
Excuse me?

DOGGETT:
Returning calls. Agent Reyes', mine. What the hell's that about?

SKINNER:
Well, I've been tied up, Agent Doggett. I just haven't had a chance.

DOGGETT:
That's not what your phone log says. Your log says you've returned everyone's calls but ours.

SKINNER:
Agent Doggett, let me remind you who answers to whom here.

DOGGETT:
Oh, I think you owe me an answer, sir - and if you don't owe it to me, you owe it to Agent Scully - on this X-File case the FBI's got. The one they're working so hard to keep us from investigating.

SKINNER:
You ready for my answer, Agent Doggett? It's not an X-File case.

DOGGETT:
That's why you have 40 agents combing the Canadian border for a dead man that ain't dead.

SKINNER:
You don't know what you're talking about.

DOGGETT:
I was out there.

SKINNER:
Without any authorisation!

DOGGETT:
I don't understand - none of us do - why you're keeping their secrets... why you're keeping quiet.

SKINNER:
Because I know things you don't, John. And it's for your own good.

(SKINNER walks down the hall leaving DOGGETT behind. DOGGETT thinks about what SKINNER knows and then looks at his office door)


SCENE 7 - ALBERTA PROVINCE, CANADA

(There is a large tent in a field and a lots of people working on an excavation. They are digging something up)


SCENE 8 - SKINNER'S OFFICE

(DOGGETT opens SKINNER’S door. He makes his way purposefully to SKINNER’S desk. He turns on the light and goes through the desk drawers. In the back of the final drawer, he finds the plastic-covered rubbings. He pulls those out and puts them on the desk intending to take them with him. He then turns back to the drawer to leaf through the files)


SCENE 9 -DIG SITE

(As the workers continue, one man, JOSEPHO, finds a large piece of metal. It is the spacecraft; this is clearly what the excavation is for. He stands up and looks down - they have found it)


SCENE 10 - AGENT REYES' RESIDENCE

(Night. Someone is knocking of the door. REYES grabs her red bathrobe to cover her nightgown and answers the persistent knocking on the door)

REYES:
Yeah. Who's there?

DOGGETT:
It's me. Open up, Monica.

(She turns on the light, opens the door and DOGGETT walks in carrying a brown file folder)

DOGGETT:
I got it.

REYES:
Got what?

DOGGETT:
What they've been keeping a secret. What they won't tell Scully. What they wouldn't tell us.

(He gives REYES the folder and she looks through it)

REYES:
What am I looking at?

DOGGETT:
A file on a guy crossing the Canadian border last night.

(Reyes looks at the file. The left side of the file folder has a big colour photo of the MOTORCYCLE RIDER. The right side has information - an application for a special agent. It says his name is ROBERT DAVID COMER, he has a BA in Forensic Science, lives in Baltimore and has served in the military)

REYES:
Special Agent Robert Comer?

DOGGETT:
He's FBI.

REYES:
I-I know this guy. I worked a case with him once in New Orleans. Company man - straight as a ruler.

DOGGETT:
Well, according to his file last six months he's been deep undercover.

REYES:
Undercover doing what?

DOGGETT:
We got a pile of reading to do. What's not blacked out.

(DOGGETT opens his jacket and pulls out the evidence bag containing the rubbings. The same rubbings KERSH showed SCULLY earlier. He gives them to REYES who picks them up and looks at them)

DOGGETT:
Oh, and, uh... picked these up in the bargain.

REYES:
Agent Skinner gave you these?

DOGGETT:
I sort of got it on loan.

REYES:
We’d better call Agent Scully.

DOGGETT:
I already did.


SCENE 11 - JESSUP, MARYLAND, 10:20 PM

(A U-Haul pulls up and the driver gets out. COMER is approaching from the back, he opens the door and starts to hot-wire the truck. The driver re-appears)

DRIVER:
Hey, need a hand there, bro? : How about I just help you out, huh? Ohh!

(The DRIVER reaches over to pull COMER out. COMER kicks the DRIVER in the chest and climbs out of the truck. They fight. The driver is knocked out. COMER takes the keys from the DRIVER. He searches the glove compartment for a map. He drives off, to Georgetown)


SCENE 12 - AGENT SCULLY'S APARTMENT

(SCULLY is on the phone)

SCULLY:
(On phone): I'm on my way.

(SCULLY hangs up. MARGARET SCULLY who is holding an unsleeping WILLIAM)

SCULLY:
That was Agent Doggett again. They're waiting. Mom, I've got to go.

MRS. SCULLY:
It's the middle of the night, Dana. I just don't understand what can't wait till tomorrow.

(SCULLY’S putting her jacket on)

SCULLY:
Mom, it's important. I wouldn't go if it weren't.

MRS. SCULLY:
Yes, I know, Dana. You say it's about getting answers.

SCULLY:
Answers about William, mom.

MRS. SCULLY:
I know you're worried about him... that there are things about him that you just can't explain - but even if you were to get those answers what would it change?

SCULLY:
Mom, he's my child.

MRS. SCULLY:
And you have to love him and raise him in spite of everything. Dana, God has given you a miracle. A child that wasn't supposed to be. Maybe it’s not to question... just to be taken as a matter of faith.

SCULLY:
Mom, I can't take this on faith. I need to know. I need to know if it's really God I have to thank.

(SCULLY leaves)


SCENE 13 - AGENT REYES' RESIDENCE

(REYES is now comparing the two sets of rubbings. DOGGETT is watching her. SCULLY enters without knocking and is surprised to see the rubbings)

SCULLY:
Where did you get those?

DOGGETT:
I got 'em... and the FBI's file on the man who was carrying them. He's one of ours - working deep undercover. Infiltrating a religious group, some kind of whacked-out UFO cult. A case they never told us about.

SCULLY:
Where's this cult supposed to be?

DOGGETT:
North Dakota. And at some point, they up and disappear into Canada. Agent goes right along with them. FBI loses all contact with him.

SCULLY:
What did they think this guy was doing running across the U.S. Border carrying these rubbings on him?

DOGGETT:
The FBI thinks he went over to the dark side. Became whacked-out himself. And that's the secret they've been trying to keep from everybody.

SCULLY:
That's it? That's the big secret?

DOGGETT:
That and... they can't seem to find him the best I can figure.

(SCULLY thinks there is more to it)

SCULLY:
I was questioned this morning by the senior staff of the FBI. Not about an FBI agent but about these rubbings. There's got to be something more. There has to be.

(REYES looks up)

REYES:
There may be, Agent Scully. But I'm not sure even the FBI is aware of it. How could they be without access to your files?

SCULLY:
What are you talking about?

REYES:
The set of rubbings the man smuggled over the border doesn't match the rubbings you took.

SCULLY:
Wait a second. How can that be?

REYES:
It could only be that this whacked UFO cult found a second spacecraft.


SCENE 14 AGENT SCULLY'S APARTMENT

(Someone is watching MARGARET SCULLY taking WILLIAM out for a walk. They watch at MARGARET wheels WILLIAM'S stroller back across the street. She unlocks the door and enters, backing into COMER. She gasps. Outside, SCULLY exits her car, walking calmly up to her apartment. She notices that the door to her apartment is ajar and she opens the door)

SCULLY:
Mom?

(SCULLY rushes over to her mother, who has come flying out of WILLIAM's room)

MRS. SCULLY:
He wants to kill the baby!

(SCULLY looks up, pulls her gun and approaches WILLIAM’S room. From the slightly opened doorway, we see WILLIAM in his crib, flailing his arms, apparently still alive and not crying. SCULLY enters and COMER pushes the door into her, picking up her gun when it drops. SCULLY, however, lands a couple of blows to him but he pushes her up against WILLIAM's crib. The baby starts to cry. COMER pushes SCULLY up against the wall with her arm twisted behind her back)

SCULLY:
No! No! Don't! Please! Don't!

(COMER manages to get both SCULLY’S arms behind her back. He then uses that leverage to kick open the door and to toss SCULLY out into the hallway. He shuts and locks the door behind her. From the hallway, SCULLY gets up and starts to knock down the door with her shoulder. WILLIAM'S cries can be heard)

SCULLY:
(Frantically) I'll kill you! I'll kill you if you touch my baby!

MRS. SCULLY:
(From behind) Dana!

(MRS. SCULLY is standing in the doorway. She is holding a second gun out for SCULLY. COMER picks up a pillow and walks towards WILLIAM's crib. SCULLY bursts through the door and shoots him. COMER falls)


SCENE 15 - SCULLY'S APARTMENT, LATER

(DOGGETT and REYES burst through the stairway door onto SCULLY’S floor. They’re running. SCULLY’S front door is ajar. DOGGETT reaches through first and REYES enters after him. They both see MRS. SCULLY sitting down and holding an ice-pack to the bruise on her forehead. DOGGETT and REYES are kneeling before her)

REYES:
Oh, my god!

DOGGETT:
(Concerned) MRS. SCULLY, are you okay ?

(MRS. SCULLY nods)

(SCULLY appears out of WILLIAM’S room holding WILLIAM. He is not crying, and is dressed warmly. DOGGETT and REYES turns to look at her. SCULLY’S face is bruised, she looks frightened, and nervously rubs WILLIAM’S back. DOGGETT is concerned; he stands and moves toward her. REYES remains kneeling in front of MRS. SCULLY)

DOGGETT:
What the hell happened here?

SCULLY:
I need your help, okay?

(SCULLY avoids answering DOGGETT’S question. With a glance she tells him that she’ll answer his questions later. She looks over at REYES instead. He remains silent)

SCULLY:
Agent Reyes, I need you to take my mom and the baby. Can you do that, Monica?

REYES:
Of course.

(REYES stands and SCULLY hands WILLIAM over to her. They both pass DOGGETT and move toward the door. REYES, WILLIAM and MRS SCULLY leave. DOGGETT turns back to SCULLY and hears COMER moaning)

DOGGETT:
Who is that? Is somebody here?

(SCULLY doesn’t say a word. She opens the door to WILLIAM’S room. DOGGETT enters and he sees COMER on the floor bleeding. SCULLY has packed his wound with some cloth and tied it around his waist. Both cloths are soaked through with blood. His shirt is open and the jacket he wore when he came in is beside him on the floor)

DOGGETT:
You gonna tell me what this is who the hell this is, Dana?

SCULLY:
That man - that FBI agent - came here to kill my baby.

DOGGETT:
You gotta help this man.

SCULLY:
No, not until he tells me why.

DOGGETT:
He's not gonna tell anybody anything unless you get him to a hospital. This man is losing blood fast.

SCULLY:
(Angry) I am not going to turn him over to the FBI! I am not gonna let them cover their tracks on this one!

(SCULLY kneels beside COMER and grabs his shirt. She is angry and she wants answer from him. She pulls him up and shakes him, yelling her questions in his ear)

SCULLY:
Why? Why do you want to hurt my son?!

(DOGGETT cannot stand it anymore. He moves to the nearby phone and picks it up. SCULLY turns around as she hears DOGGETT reach for the phone and turns her anger at DOGGETT halting him in the process)

SCULLY:
Agent Doggett, put down the phone! He has to answer me!

(DOGGETT looks at SCULLY. His message clear: She has until help comes to get her answers out of COMER. He begins dialling)

AGENT COMER:
He ha-has to...

SCULLY:
What? Say it!

(COMER gulps, his lips bloodied)

AGENT COMER:
Your son...

SCULLY:
Say it!!

AGENT COMER:
...has to die.

SCULLY:
Why?! Who told you that?!

(COMER can say no more. SCULLY angrily begins to shake him. COMER begins to lose consciousness)

SCULLY:
He's my son! He's my son!!

(COMER’S eyes close. Behind SCULLY, we hear DOGGETT speaking rapidly on the phone)

DOGGETT:
I've got a medical emergency, a man in critical condition at...

(Later, The EMT’S with COMER on a gurney leaves WILLIAM’S room. They have an oxygen mask on him. In the hallway, they pass DOGGETT and SCULLY who is strangely silent, struggling to hold on to her emotions in her tenuous grasp. DOGGETT approaches SCULLY and stops some distance from her)

DOGGETT:
This man have any kind of a weapon?

SCULLY:
A pillow.

DOGGETT:
Whatever brought him here I hope to God we figure it out.

(DOGGETT leaves SCULLY standing in the hallway. Tears run down SCULLY’S face, she grabs COMER'S jacket and finds the metal inside)


SCENE 16 - CALGARY, ALBERTA PROVINCE, CANADA

(The streets are dark. It’s early morning. A newspaper headline reads ‘Missing FBI Agent Shot In Washington’. The ‘OVERCOAT WOMAN’ picks up the paper and is shocked by it's heading, buying the paper. A white truck, belonging to the cult, travels to the large tent. The excavation continues, the OVERCOAT WOMAN is also heading for the site)


SCENE 17 - EXCAVATION SITE

(JOSEPHO looks up at the OVERCOAT WOMAN approaching)

JOSEPHO:
What is it?

(She doesn’t say a word and tosses the paper to him. He catches it and reads the headlines. He sighs)

JOSEPHO:
This changes everything.

OVERCOAT WOMAN:
He can expose all this. He's got proof he can show them. What do you want to do?

(He looks back down at the paper and sighs)

JOSEPHO:
There's only one thing to do.

(He looks at her. She gets the message and leaves)


SCENE 18 - FBI HEADQUARTERS, WASHINGTON D.C.

(FOLLMER opens the door to KERSH's office)

FOLLMER:
Agent Scully, Agent Doggett.

(SCULLY and DOGGETT enter. SKINNER is by the window, and the TOOTHPICK man is there also)

FOLLMER:
You can both have a seat.

(They walk in to the office and stop in front of KERSH’S desk)

SCULLY:
This is just going to be another interrogation I prefer to stand.

(DOGGETT sighs. He remains silent)

KERSH:
Agent Scully, a man was shot in your apartment. An FBI agent.

SCULLY:
Trying to kill my son.

KERSH:
That is not in question here. There'll be an investigation.

SCULLY:
(Angry) Another secret investigation or one where I'm given advance warning that my family's life is in danger?

(DOGGETT and SKINNER look at each other)

FOLLMER:
It would help us to help you if you could tell us anything this man might have communicated to you.

DOGGETT:
I wouldn't tell him anything, not until they explain why all the hush-hush over this case, why the doublespeak - the mincing words from Mister Follmer - 'cause I want answers myself.

(DOGGETT looks from FOLLMER to KERSH)

KERSH:
The man you shot had been undercover which you've already found out through whatever ‘unethical’ means. His assignment was to infiltrate a religious cult. A cult led by a former military officer. A very dangerous man by all accounts and who also believed in very dangerous ideas... about aliens.

SCULLY:
And why wasn't I told? Why not Agent Doggett? Why not Agent Reyes? Why wasn't this an X-File?

SKINNER:
(Quietly) I asked them to put somebody else on the case because I was afraid after all that you'd been through it just might break you.

(DOGGETT turns to look at SKINNER wondering what they know and still aren’t saying)

SCULLY:
What are you talking about?

(KERSH and SKINNER share a look)

KERSH:
Agent Comer - our undercover man - was sent to infiltrate the cult... based on a series of... threats.

SCULLY:
What threats? Threats to who? To me, to my child...

FOLLMER:
Threats... on Agent Mulder's life.

(DOGGETT pieces all the information together and remains silent)

SCULLY:
That's what this is about? Then why pull me in here and show me those rubbings? I don't understand.

(SCULLY’S looking at FOLLMER. FOLLMER swallows. No one else is speaking)

FOLLMER:
Before losing all contact with our undercover agent he sent us a communication. A communication we've been trying to confirm that, uh...

(FOLLMER swallows. SCULLY is watching him, waiting for him to finish)

FOLLMER:
(Gently)... that Mulder was already dead.

(SCULLY doesn't know what to believe but both FOLLMER and KERSH seem sincere, SKINNER can't even look at her. SCULLY leaves the office, unsure, and DOGGETT watches her leave)


SCENE 19 - AGENT SCULLY'S APARTMENT

(REYES enters, giving WILLIAM to SCULLY)

REYES:
(Smiling) Here's your mommy.

SCULLY:
(To WILLIAM) Hi, honey.

(SCULLY holds WILLIAM close. She kisses him. She hasn’t moved. She’s very sad)

REYES:
Dana, what's wrong?

(SCULLY turns away and walks to WILLIAM's room. REYES takes off her coat and follows)

REYES:
What's happened?

(SCULLY kisses WILLIAM over and over again)

SCULLY:
(Whispering to WILLIAM) It's okay.

REYES:
(Gently) Just tell me what it is.

SCULLY:
(Whispering) It's Mulder...

(A rattling noise coming from the next room catches the attention of both women. SCULLY looks worried. The rattling noise is getting louder and more violent. SCULLY puts WILLIAM in his crib while she and REYES check it out. The top drawer in the room next door is rattling)

REYES:
What is it?

SCULLY:
An artefact. I got it from the man who was trying to kill William.

REYES:
Okay, but what the hell is it?

SCULLY:
It's a piece of the spacecraft.

(REYES looks suddenly at SCULLY. SCULLY opens the drawer cautiously and the piece bursts out, crashing through the crib and hovering about WILLIAM, spinning around. SCULLY and REYES rush into the room. SCULLY is terrified)


SCENE 20 - STREET IN FRONT OF AGENT SCULLY'S APARTMENT

(Night. DOGGETT pulls up in front of SCULLY’S apartment building. REYES meets him at the door)

DOGGETT:
Where's Agent Scully?

REYES:
She's still upstairs. I want to talk to you before you see her to explain what's happened.

DOGGETT:
You said it had something to do with the kid. A piece of metal these rubbings were taken from.

REYES:
A piece of that ship in Canada.

DOGGETT:
Oh, come on, Monica. You're making an outrageous leap. You're just guessing there's any such thing.

REYES:
It flew through the air at the baby. I saw it.

(A worried look crosses DOGGETT’S face)

DOGGETT:
Just tell me the boy's okay.

REYES:
I don't think you understand. The boy has some connection with this thing-this piece of metal.

DOGGETT:
You saying this kid's an alien or something?

REYES:
You can believe or not, but the man who tried to kill Scully's baby believed it... so must this cult he got involved with who are obviously more than willing to kill for their belief.

(SCULLY appears handing REYES to WILLIAM. DOGGETT is stunned)

DOGGETT:
Where are we going?

SCULLY:
I'll tell you on the way.

(REYES puts WILLIAM in the car seat. SCULLY gets inside the car. DOGGETT closes the car door behind her. He looks up and notices a station wagon parked nearby with a driver inside. Both look suspicious to him. He doesn’t like the look of it. DOGGETT hands the keys to REYES. He’s going to check it out)

DOGGETT:
(To REYES) You drive.

REYES:
What is it?

(DOGGETT leans over SCULLY’S open window)

DOGGETT:
I'm right behind you guys.

SCULLY:
What is it?

DOGGETT:
Probably nothing.

(REYES drives off. Inside the parked station wagon, the OVERCOAT WOMAN watches them drive off. DOGGETT is left behind, standing below the lamppost. He makes his way purposefully toward the station wagon. The OVERCOAT WOMAN starts the engine and heads straight for DOGGETT)

DOGGETT:
Federal Agent! Stop the car!

(DOGGETT pulls out his gun and fires several shots at her, breaking her windshield. She doesn’t stop and runs him down. DOGGETT tumbles over the hood of the car and falls to the pavement, unconscious. The station wagon takes off after the others)


SCENE 21 - ALLEYWAY

(REYES turns the car into an alleyway where a van is lying in wait)

REYES:
Who are we meeting?

SCULLY:
The only ones left we can trust.

(BYERS, LANGLY & FROHIKE exit the van. FROHIKE gets WILLIAM out of the seat. WILLIAM is crying)

FROHIKE:
Hey, little man.

(He hands WILLIAM to LANGLY. FROHIKE turns back to get the baby-bag. He closes the car door)

LANGLY:
Your baby's in good hands.

(BYERS takes the car seat. The LONE GUNMEN turn to face SCULLY. She reaches over and plays with WILLIAM. WILLIAM isn’t crying)

SCULLY:
I need to know that you're taking him to a safe place. I need to know that you're... that you're taking every precaution.

BYERS:
We understand. Langly.

(LANGLY runs back to the van)

SCULLY:
Now, there's a good chance that my phone lines have been tapped and if they're tapped, they can trace you.

FROHIKE:
We thought about that.

(LANGLY rushes back with a plastic bag that he hands to REYES)

LANGLY:
Six cell phones their signals scrambled. Use each one once and then throw it away.

(SCULLY looks at the LONE GUNMEN thankfully and kisses WILLIAM)

SCULLY:
(Softly to WILLIAM) Hey... it's going to be okay.

(SCULLY finally turns back to the car)

FROHIKE:
Whatever you do, don't worry.

(SCULLY & REYES drive off. THE LONE GUNMEN remain behind holding WILLIAM)


SCENE 22 - EXT. SCULLY’S APARTMENT BLOCK

(Police car lights fill the street as REYES and SCULLY return home)

SCULLY:
What's going on here?

REYES:
I don't know.

(REYES stops the car. SKINNER is speaking with a group of police officers. He sees them and approaches the car. REYES exits the car and rushes over to SKINNER)

REYES:
What happened? Is it John?

(REYES runs over to DOGGETT who is being loaded on to an ambulance stretcher. SKINNER turns back to SCULLY, who has realised the others are in danger. She runs to the car)

SKINNER:
Agent Scully! Scully!

SCULLY:
My baby! They're after my baby! I have to get back!

(SCULLY slams the car door and drives off leaving SKINNER standing there in the street)


SCENE 23 - ALLEYWAY

(BYERS is in the back of the van tickling WILLIAM’S cheek, thoroughly enjoying making WILLIAM smile. The van makes its way down the alleyway. In front of them, blocking the entrance to the alleyway, the OVERCOAT WOMAN’S station wagon blocks the alleyway entrance)

FROHIKE:
What the hell is this?

BYERS:
(Alarmed) What the hell is what?

(The OVERCOAT WOMAN is holding a gun. She fires several times. The first bullet breaks her passenger-side window; she fires several more and hits the left tire of the GUNMEN’S VAN. The moving van crashes into a nearby pole. The OVERCOAT WOMAN walks towards the back of the van and points her gun at BYERS who is protecting a crying WILLIAM…)

[TO BE CONTINUED…]



Gillian Anderson (Special Agent Dana Scully), Robert Patrick (Special Agent John Doggett), Mitch Pileggi (A.D Skinner), Annabeth Gish (Special Agent Monica Reyes), Tom Braidwood (Frohike), Cary Elwes (AD Brad Follmer), Dean Haglund (Langly), Bruce Harwood (Byers)Sheila Larken (Margaret Scully), James Pickens Jr (A.D. Kersh), Joe Colligan (Driver Agent), Brian Catalano (Agent Daley), Alan Dale (Toothpick Man), Denis Forest (Josepho), Randy Hall (U-Haul driver), Laura Leigh Hughes (Kersh's Assistant), Neal McDonough (Agent Robert Comer), James Parks (Agent Terry Sullivan), James Riker (William Scully), Travis Riker (William Scully), McNally Sagal (Overcoat Woman)

Directed by Kim Manners

TX:
US TX - 3rd March 2002

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

*’Provenance’ is defined as ‘a place of origin, the source’

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