X-Files Logo 'Release'

Story Code '#9X16'
by David Amann
X-Files Cast

[THE TIP]


SCENE 1 - STREET

(Night. A dark car pulls up. DOGGETT is driving; he makes sure he has the right building: #1161. He steps out of the car holding a flashlight, bursts through the door and enters a room. An unseen person pushes him back and runs off, but DOGGETT continues into the room, and hears a scratching sound. It is coming from behind wet cement, which is bleeding from the sides as it runs down)


SCENE 2 - QUANTICO FBI ACADEMY

(SCULLY is teaching a class, where a body is lying on a table)

SCULLY:
Jane Doe. Found last night entombed in a tenement wall by an agent who was following an anonymous tip. Time of death, approximately 21:00 hours from three stab wounds to the abdomen. Dirt and clay were found under the nails of her right hand.

CADET 1:
What are those lacerations on her arms and feet?

SCULLY:
Predation- from rats. The agent was led to her body by the sound of their feeding. Anyone?

CADET 1:
She was killed someplace else. She clawed at the dirt before succumbing to her injuries.

SCULLY:
That's possible. What else would help us I.D. this victim... find the killer?

(CADET RUDOLPH HAYES speaks up)

CADET HAYES:
It's obvious, isn't it?

SCULLY:
What is?

CADET HAYES:
The chipped nail polish. The drugstore hair rinse. This is a single woman, unemployed. That's why no one's I.D.'d her. You found blood alcohol?

SCULLY:
Point zero four.

CADET HAYES:
She hooked up with the wrong man in a bar. He killed her. This man has killed before.

SCULLY:
And you know that because ...

CADET HAYES:
That bruise beneath her ribs? It's from the hilt of a knife. The killer intended a single blow... the blade thrusting upward at a forty-five-degree angle into the heart, causing death instantly. But she struggled so, he missed. Then he got mad. Like I said... obvious.

(SCULLY is stunned)


SCENE 3 - EXAMINATION ROOM

(SCULLY does an examination of Jane Doe, only to realise HAYES was right)


SCENE 4 - SCULLY'S OFFICE

(SCULLY is on the phone. DOGGETT and REYES enter)

DOGGETT:
Agent Scully?

SCULLY:
(On phone) Great; thank you.

DOGGETT:
You got something?

SCULLY:
Quite a lot, actually. We've identified your Jane Doe as Ellen Persich, twenty-eight, from Redland, Maryland.

REYES:
How'd you make the I.D. So fast?

SCULLY:
The bar that she was at last night is about a half a mile from where another woman was murdered two weeks ago apparently by the same killer.

REYES:
You're saying the body John found was the second victim?

DOGGETT:
This says that Rita Shaw was found in a ditch dead from a single knife wound. The woman I found was plastered behind a wall and stabbed three times.

SCULLY:
That's why I didn't make the connection at first, either but that was the lab on the phone and they confirmed that it was the same knife in both killings.

REYES:
Well, how did you make the connection?

SCULLY:
I didn't but one of my students realised that the killer only meant to stab Agent Doggett's victim once. The other wounds were out of anger because he missed.

REYES:
That's a pretty astute observation.

SCULLY:
Amazingly so.

DOGGETT:
This cadet have any other answers up his sleeve?

SCULLY:
Like what?

DOGGETT:
I want to know why someone tipped me off to this in the first place 'cause this isn't an X-File - not by a long shot.

SCULLY:
I don't know, Agent Doggett, but now that you've got this case I'd say run with it.


SCENE 5 - FORENSIC TRAINING FIELD, JOPLIN, VIRGINIA

(Cadets are in training as DOGGETT and REYES walk through. They stop at CADET HAYES who is looking at a severed arm infested with maggots)

DOGGETT:
Cadet Hayes? Rudolph Hayes? I'm Agent Doggett. This is Agent Reyes.

(HAYES doesn't look up, he is smelling the arm. DOGGETT and REYES are a little confused)

DOGGETT:
Is that part of the training here, Cadet - smelling body parts?

CADET HAYES:
This man's flesh smells of creosote... but his skin is soft. Untanned. He worked indoors. A hardware store, probably. The tear marks at his elbow go from left to right. He was broadsided in a car accident. His hands gripped the wheel so hard... his thumb bone snapped on impact.

DOGGETT:
You determined all that just by looking at that arm?

(HAYES stands up and turns his attention to the agents)

CADET HAYES:
I see things.

REYES:
We came to thank you. Because of your analysis, we were able to work up a profile to catch the man who murdered those women.

CADET HAYES:
What's the profile?

DOGGETT:
White male, twenty-five to thirty-five, ex-military. Employed near the bars where he met... why are you shaking your head?

(HAYES is, indeed, shaking his head)

CADET HAYES:
The profile's wrong. Your killer is in his forties. A felon recently arrived from out of state. His parole officer thinks he's looking for a job. He already has one - working for organised crime. He's killed many people. He's going to keep on killing.

(HAYES walks away. REYES smiles)

REYES:
Kind of annoying, isn't he?

(DOGGETT stands there, looking at HAYES, deep in thought...)


SCENE 6 - HAYES' RESIDENCE

(HAYES enters his home, switches a lamp on and pins a photograph of the victim on the wall. The walls are covered with hundreds of pictures of victims. HAYES takes off his shoes, continuing through a hall covered with pictures, all of them of dead bodies. An entire panel in front of his bed is covered with pictures and we see that this is the same for every wall in CADET HAYES' house)


SCENE 7 - BAR

(REYES and DOGGETT pull up and enter. NICHOLAS REGALI is sitting at the bar and REYES notices him)

REYES:
John.

(DOGGETT matches the picture and they move over to REGALI, who is having a drink)

REYES:
Nicholas Regali? I'm Agent Reyes; this is Agent Doggett.

(They show their I.D.s)

REGALI:
Oh, don't put them away so fast, Agents. I want to read them. John...Jay...Doggett. Monica Reyes

REYES:
Mister Regali, you're in town in violation of the terms of your parole back in New York.

REGALI:
Call my parole officer. She'll tell you I'm here looking for work.

REYES:
You come here often, Mister Regali? Like last night when Ellen Persich got murdered in the parking lot out back?

REGALI:
Last night. I don't remember.

REYES:
Maybe you remember being at The Bent Oak. Bartender says he saw you there two weeks ago. The same night a woman named Rita Shaw got stabbed in the heart. What do you have to say about that, Mister Regali?

REGALI:
You folks don't know what you're dealing with.

(DOGGETT grabs REGALI's cigar and puts it out in his drink)

REGALI:
You don't want to play this game, flatfoot. Not with me.

REYES:
You like to kill women, Mister Regali? You may think you can get away with it but that's not going to happen.

REGALI:
Like I said... you really don't know what you're dealing with.

DOGGETT:
I think we do.

(REGALI chuckles, he knows better)

REGALI:
Agent Doggett. Agent Reyes.

(REGALI sips his drink and DOGGETT and REYES walk off)


SCENE 8 - HAYES' RESIDENCE

(HAYES looks out of the window before getting into bed. We see some pictures on one of his walls, a boy lying dead in a field. It is Luke, DOGGETT’s son. There is also another picture of DOGGETT leaning over his son)


[ASHES]


SCENE 9 - DOGGETT'S HOME

(DOGGETT is unsuccessfully trying to sleep. He stands and gets out a box - the ashes of Luke Doggett. DOGGETT sits holding it)


SCENE 10 - X-FILES OFFICE

(DOGGETT is reading a file. He looks up, CADET HAYES is in the doorway)

DOGGETT:
How long you been standing there?

CADET HAYES:
Not long.

(DOGGETT moves to stand behind his desk)

DOGGETT:
I'm glad you dropped by. Wanted to tell you we hit pay dirt with your profile. No arrests yet, but we're building our case.

CADET HAYES:
There's something else.

DOGGETT:
There's another case I'd like you to take a look at. Seven-year-old boy rides his bike around the block. His mom's on the porch, counting his laps. He waves to her every time he goes by and after six laps, he doesn't come back around. She goes looking for him. She finds his bike lying on the sidewalk. There's no witnesses, no ransom demands, no clue as to who took him or why. The cops search door-to-door block-to-block for two days. Nothing. No news at all. And after three days they find him in a field.

(DOGGETT pulls out a file and looks through it)

DOGGETT:
It's all in here. The particulars... about my son. I've been over this I don't know how many times but after nine years there's not a lot to go on. You were such a big help yesterday. If there's anything you see here ...

CADET HAYES:
Agent Doggett, that case I helped you with yesterday? That is your son's.


SCENE 11 - HAYES RESIDENCE

(CADET HAYES and DOGGETT enter)

DOGGETT:
What is this?

CADET HAYES:
Unsolved murders. I started collecting them before I came to the FBI. I couldn't tell you why.

DOGGETT:
What do you do with these?

CADET HAYES:
If I sit with them for a long time very quietly they tell me things.

CADET HAYES:
It's how I see what I see.

DOGGETT:
You've been following my son's case.

CADET HAYES:
For a long time. He calls to me.

DOGGETT:
Cadet, you should know there's a real good chance you're nuts.

(The CADET hands DOGGETT a photograph)

CADET HAYES:
You recognise that man?

DOGGETT:
It's Bob Harvey. It's the closest we ever had to a suspect.

CADET HAYES:
He died. Killed in a car crash last year in New Orleans.

DOGGETT:
This man killed my son?

CADET HAYES:
He took him. He didn't kill him.

DOGGETT:
Are you saying the same man that killed those women killed my son? This guy Regali?

(CADET HAYES nods)


SCENE 12 - BRAD FOLLMER'S OFFICE

(DOGGETT knocks and enters. FOLLMER is fixing himself up)

DOGGETT:
Assistant Director? Can I have a minute?

FOLLMER:
It's not a good time. I'm off to a meeting with the Director.

DOGGETT:
This can't wait.

FOLLMER:
And the Director can? Okay, you've got one minute.

(DOGGETT closes the door and steps into the office)

DOGGETT:
When you were in New York, you worked the organised crime task force, right?

FOLLMER:
Mm-hmm.

DOGGETT:
Did you ever hear of a guy named Nicholas Regali?

FOLLMER:
Yeah, he was... a collector a low-level thug. Why are you asking me, Agent Doggett?

DOGGETT:
When the New York office was investigating my son's death his name never came up.

FOLLMER:
Well, why would it? You have reason to believe he was involved?

DOGGETT:
I've got no evidence but somebody's telling me he's mixed-up with the suspect in my son's kidnapping, this Bob Harvey.

FOLLMER:
Well, I never heard that. And I'm sure I'd remember.

(DOGGETT doesn't move. But he is hoping that he can find the answers this time around. FOLLMER realises DOGGETT really is affected by this)

FOLLMER:
You want me to ask around and pull some files?

(DOGGETT nods)

FOLLMER:
I'll see what I can find.

DOGGETT:
I'd appreciate it.

(DOGGETT leaves)


SCENE 13 - HALLWAY

(REYES stops DOGGETT)

REYES:
John! Where you been?

DOGGETT:
Chasing down leads.

REYES:
We were supposed to meet in the office this morning, remember? To go over what we have on Regali.

DOGGETT:
I think this guy, Regali may have been involved in Luke's death.

REYES:
What? Since when?

DOGGETT:
Since I've been talking to Cadet Hayes. He says Regali knew Bob Harvey - that they were in on it together.

REYES:
How could he possibly know that?

DOGGETT:
How does he know half the stuff he knows? I did some digging. I found out that Bob Harvey and Regali both did time at ‘Walkill’ in 1988.

REYES:
So did a thousand other men. That doesn't mean they knew each other.

DOGGETT:
I tracked Regali's credit card use, Monica. The day Luke disappeared he gassed his car up two miles from my house.

REYES:
Regali is a New Yorker. A lot of New Yorker's visit Long Island. This is not evidence not even close. I will never know how badly it hurt you to lose your son or how much pain you still carry. I understand how much you want to find his killer, but I don't want to see you disappointed. Not again.

DOGGETT:
It's not going to happen. Not this time.

(DOGGETT walks away, desperate to be right)


SCENE 14 - BARBARA DOGGETT'S RESIDENCE

(BARBARA DOGGETT is in the garden. She looks up to see DOGGETT approach)

DOGGETT:
Hi, Barbara. How you doing?

(Inside, DOGGETT looks around. BARBARA knows that there is only one reason he'd drop by unannounced)

DOGGETT:
When'd you get the new furniture?

BARBARA DOGGETT:
Last year. I just wanted to make a change.

DOGGETT:
It looks great. You look great.

BARBARA DOGGETT:
You need to call first, John. Kind of throws me when you just show up here.

DOGGETT:
I'm sorry. It won't happen again. I need to talk to you, Barb.

BARBARA DOGGETT:
It's about Luke.

DOGGETT:
I got a suspect.

BARBARA DOGGETT:
Oh, god. John ...

DOGGETT:
I know, I know. But this time, it's different.

BARBARA DOGGETT:
Is it? He ‘could’ be, he ‘might’ be... I want to find out who did this just as badly as you do. But I don't want you coming over here again unless you know... unless you absolutely know.

(DOGGETT clearly isn't sure)

BARBARA DOGGETT:
That's what I thought.

DOGGETT:
Look, this guy may have been cruising the neighbourhood. You could have seen him.

BARBARA DOGGETT:
Did you hear anything I said?


SCENE 15 - VIEWING ROOM

(BARBARA enters and looks at the men in the line-up - REGALI is one of the men. DOGGETT is with BARBARA, but she doesn't recognise any of the men, and shakes her head at DOGGETT to indicate this. Then she leaves the room, dashing DOGGETT's only hope of finding LUKE's killer)


SCENE 16

(SCULLY enters, where DOGGETT and REYES are talking to a police officer. BARBARA comes up to her)

BARBARA DOGGETT:
Agent Scully? I'm Barbara. John's ex-wife.

SCULLY:
Hi. I'm Dana. Nice to meet you.

BARBARA DOGGETT:
He said you'd be coming by.

SCULLY:
You weren't able to make an identification?

BARBARA DOGGETT:
I didn't expect to. You know he doesn't think clearly about this. He can't.

SCULLY:
He blames himself.

BARBARA DOGGETT:
He thinks he failed Luke. In his mind, he can never do enough, never suffer enough for what happened. I think if you can help him find the man who did this maybe he could move on.

(They look over at where an angry DOGGETT is talking to the POLICE OFFICER. REYES is there also)

BARBARA DOGGETT:
He and Monica could really have something together. He just won't let her in.

(REYES and DOGGETT come out and approach them)

BARBARA DOGGETT:
They're letting him go?

DOGGETT:
For now.

BARBARA DOGGETT:
I'll be at my mom's till tomorrow.

(BARBARA leaves)

DOGGETT:
Tell me you got something.

SCULLY:
As you asked, I compared the wounds inflicted on your son with the wounds on these two women.

DOGGETT:
And?

SCULLY:
There are similarities between the trajectory of the wounds and the force with which they were delivered.

DOGGETT:
Meaning Regali's the guy.

SCULLY:
Meaning that it was a brilliant forensic deduction on Cadet Hayes's part. But that's all it is. The killer used different weapons, he demonstrated no consistent M.O, and no clear victimology.

REYES:
None of it will hold up in court.

DOGGETT:
Well, something out there will.

(DOGGETT walks away, followed by REYES)


[THE MESSAGE]


SCENE 17 - HAYES RESIDENCE

(HAYES is against the wall, looking at DOGGETT's photographs, deep in thought)


SCENE 18 - X-FILES OFFICE

(DOGGETT closes the REGALI file and looks up to where REYES is)

DOGGETT:
Something's not right.

REYES:
What do you mean?

DOGGETT:
Here's a guy whose name comes up in connection with racketeering, prostitution, drugs, even murder, yet all he's got are nickel and dime convictions. Always gets off with just a slap on the wrist.

REYES:
You know as well as I do mob cases are hard to build.

DOGGETT:
What I'm saying is I don't think anyone's even trying. I think this guy Regali's greasing somebody.

REYES:
As in bribery?

DOGGETT:
What else could it be?

(REYES sits silently)

DOGGETT:
What? What is it?

(REYES thinks she might have the answer)


SCENE 19 - BRAD FOLLMER'S OFFICE

(FOLLMER opens the door to admit REYES and DOGGETT)

FOLLMER:
Agents. I was just coming to see you.

REYES:
We need to talk to you, Assistant Director. About New York.

FOLLMER:
Oh, didn't you get the case files?

REYES:
I mean when we were working in the New York office. You and me.

FOLLMER:
I'm not following.

(REYES walks inside and sits on a chair)

REYES:
I used to get take out from a place on 11th Street. A little hole-in-the-wall. Maybe you remember it. Carlo's.

FOLLMER:
Is it me, or, uh is this becoming an odd conversation?

REYES:
One night, three years ago, I'm waiting for my order. I wandered toward the kitchen.

(DOGGETT says nothing, FOLLMER is worried but isn't sure where REYES is going with this)

REYES:
And I saw you.

FOLLMER:
Me?

REYES:
Talking to a man. A mob guy. I saw you take money from him, Brad. A stack of it.

FOLLMER:
Three years ago? So, instead of asking me to explain it or even reporting me to the bureau you broke off our relationship and moved away?

REYES:
I cared about you, Brad. I'm m not defending my actions.

FOLLMER:
And now you've come here because you think I'm on the take. Maybe I was on the take when Agent Doggett's son was murdered.

DOGGETT:
Somebody gave Regali inside help. Covered his role in my son's death.

FOLLMER:
The man you saw me with was a confidential informant. I was giving him the money.

REYES:
That's not what happened.

FOLLMER:
We were buying his help to infiltrate a crime family. It's all documented. The entire operation.

(DOGGETT and REYES look at each other, worried that his story is correct)

FOLLMER:
Now I can prove what I'm saying. Can you? You should have come to me, Monica. Especially given what I know now.

DOGGETT:
What do you know?

FOLLMER:
When you raised concerns about Regali I looked into the source of these allegations - uh, a cadet, right?

DOGGETT:
Rudolph Hayes. He's been very helpful in this investigation.

FOLLMER:
Rudolph Hayes died in 1978 in a car accident.

DOGGETT:
What? Let me see that.

FOLLMER:
Cadet Hayes's real name is Stuart Mimms of Mendota, Minnesota. Last known residence the Dakota County Psychiatric Facility.

REYES:
He was a mental patient?

FOLLMER:
Diagnosed paranoid schizophrenic voluntarily institutionalised in 1990. In 1992, he checked himself out and disappeared. There's another thing. We can also place him in New York city in 1993... the year your son was murdered.

(DOGGETT is surprised at this turn in events)


SCENE 20 - HAYES RESIDENCE

(DOGGETT, REYES and armed agents burst into HAYES house. He is sitting in a chair, not at all surprised to see them. He is pulled to the ground, offering no resistance. DOGGETT looks around in shock. All the photos are gone. As HAYES is led away, DOGGETT and REYES share a look of confusion)


SCENE 21 - FOLLMER'S CAR

(REGALI climbs in to FOLLMER's car, smoking a cigar)

REGALI:
Nice car. I remember when they had you banging around in a ten-year-old Impala. Now look at you. Mister Assistant Director.

FOLLMER:
You got lucky. He has another suspect.

REGALI:
You came down here to tell me that?

FOLLMER:
There's something I need to know. Were you in any way involved in the death of John Doggett's son?

REGALI:
Since when do you ask me questions?

FOLLMER:
Were you involved!

(FOLLMER looks at REGALI, who faces him back in a silent face-off where FOLLMER seems determined to find the truth)

REGALI:
Course not. What kind of guy do you think I am?

FOLLMER:
That's it, I'm done, Regali.

REGALI:
Done?

FOLLMER:
With you, with this, with this whole thing.

REGALI:
And if I say no, what are you going to do? You know, if I'm you, right now I'm thinking ‘I could bop this guy right here and who's going to know it's not self defence?’ Well, let me remind you anything happens to me a videotape lands at the Washington Post showing a young Brad Follmer taking cash from yours truly to make an indictment go away. You're done when I say you're done.

(REGALI exits the car, leaving BRAD FOLLMER stone faced)


SCENE 22

(DOGGETT once again shows BARBARA a police line-up. This time she recognises one of the men - RUDOLPH HAYES)


SCENE 23 - INTERROGATION ROOM

(RUDOLPH is cuffed. SCULLY and DOGGETT are interrogating him. SCULLY shows HAYES a manila folder)

SCULLY:
It's all in there. How you defrauded the FBI with a false identity in order to gain admittance to the Academy. We know who you really are. We know about your history with schizophrenia. We know that you orchestrated this entire thing in order to get close to Agent Doggett.

RUDOLPH HAYES:
I've been recognised by Agent Doggett's ex-wife who failed to identify Nicholas Regali in that same room yesterday.

SCULLY:
Because Nicholas Regali did not kill Agent Doggett's son. You did.

RUDOLPH HAYES:
That's one explanation.

DOGGETT:
It's the explanation.

RUDOLPH HAYES:
No.

DOGGETT:
Then what is? What is?!

RUDOLPH HAYES:
I told you before, Agent Doggett. I studied the photos of your son's death. They called to me. I don't know why, but it was a message, and I listened.

SCULLY:
And then, you killed Agent Doggett's son.

RUDOLPH HAYES:
I studied his case obsessively. I'm a schizophrenic. That's what schizophrenics do. Obsess. I watched Agent Doggett. I watched his ex-wife, too. She can't tell you how she recognises me just that she does.

DOGGETT:
You're a liar. You lied to the FBI. You're lying now.

RUDOLPH HAYES:
Would you have listened to me otherwise? A mental patient with insight into your son's death? I wanted to get close to you, Agent Doggett. To help you.

DOGGETT:
You gave me that tip. To find the woman's body in the wall.

RUDOLPH HAYES:
Regali associated with the man who abducted your son. I called you so that you could catch him.

(DOGGETT and SCULLY know now that they should have caught REGALI when they had the chance. He is LUKE's murderer)

RUDOLPH HAYES:
I've received another message. I'd like to go back home now to the institution.


SCENE 24 - OUTSIDE

(REYES and FOLLMER are waiting outside. DOGGETT bursts through the door, ignoring them, as he continues on his way out)

REYES:
John? John!

(SCULLY comes out of the room as well. FOLLMER turns to her impatiently)

FOLLMER:
Well?

SCULLY:
Well, he told us his story. Whether it's true...

REYES:
In other words, we're nowhere. Again.

(REYES goes after DOGGETT. FOLLMER is left trying to figure out his options)


SCENE 25 - BAR

(DOGGETT pulls up and gets out of his car. He enters the bar where REGALI is sitting, drinking and smoking a cigar. DOGGETT sits next to him)

REGALI:
Well, well. It's the FBI agent.

DOGGETT:
I'm not here as an FBI agent. I'm here as a father.

REGALI:
Whoa. What could that mean?

DOGGETT:
I want to know what happened to my son.

REGALI:
I don't know who killed your son. But I like you, FBI. I really do. I'll tell you how it could have happened, hypothetically.

(DOGGETT listens, intrigued)

REGALI:
Say there was this guy - a businessman. And say this businessman - in the course of doing business - has to associate with any number of thugs, sickos, perverts. Like Bob Harvey, for example. And say this Bob Harvey likes little boys. Yeah. Disgusting. Say one day, Bob Harvey sees a little boy riding a bike, and he can't stand it. He grabs the boy. So, Harvey takes the boy back to his place only he doesn't tell the businessman what he's doing. So, the businessman walks in on him. You see what I'm saying, FBI? The boy sees the businessman's face. The businessman who never did nothing to this little boy. That's a problem. Well... every problem has got a solution, right?

(REGALI finishes his story and walks out of the bar. DOGGETT pulls out his gun and makes a decision, following REGALI. But before he even gets out the door, a gunshot rings out. He rushes outside to where REGALI is lying dead on the ground. A WOMAN stands nearby screaming)

WOMAN:
Oh, my God. He shot him. He just took out his gun and shot him.

(DOGGETT turns, shocked to see FOLLMER standing there with a gun in his hand and blood splatters on his clothes. DOGGETT looks at FOLLMER, who is dazed and confused and FOLLMER drops the gun)


[RELEASE]


SCENE 26

(We are on a beach. DOGGETT and BARBARA are standing holding the ashes. The waves roll over their feet. DOGGETT opens the box and scatters his son’s ashes into the wind. He cries, and BARBARA walks away. Finally, their ordeal is over. DOGGETT climbs up the sand dunes to where REYES waits, leaning against DOGGETT's truck. Their eyes meet and he wraps his arms around her, crying and burying his face in her hair)

[THE END]



Gillian Anderson (Special Agent Dana Scully), Robert Patrick (Special Agent John Doggett), Mitch Pileggi (A.D Skinner), Annabeth Gish (Special Agent Monica Reyes), Cary Elwes (AD Brad Follmer), Victoria Gallegos (Follmer's Assistant), Avery Glymph (Diener), Sal Landi (Nicholas Regali), Mandy Levin (Ellen Persich), Kate Lombardi (Woman), Barbara Patrick (Barbara Doggett), Jared Poe (Cadet Rudolph Hayes), Kipp Shiotani (Cadet #1)

Directed by Kim Manners

TX:
US TX - 5th May 2002

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