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The X-Files: Virtual Season 12
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718
LAST UPDATE
2024-08-14 06:55:03
PAGE VERSION
Version 5
LIKES
1
RANK
35
RATING
Rated PG-13
PUBLISHED ON
February 6, 2019
WORD COUNT
6,319
READ TIME
32 minutes
SUMMARY
Mulder and Scully investigate a U.S. Senator’s claims of alien abduction while Doggett finds new clues in the search for Reyes.
“The X-Files” was created by Chris Carter and is the sole property of 20th Century Fox Television. This script is purely “fan fiction” and was not written for any monetary gain.
THE X-FILES
12x6
"Memoria"
Written by
Adam Silva
TEASER
FADE IN
SCENE 1
ESTABLISHING SHOT
Capitol Hill.
INT. CAPITOL BUILDING - NIGHT
TWO YOUNG INTERNS, early 20s, female, walk down a hall passing Congressional offices.
FIRST INTERN
I can't remember the last time I slept. Or ate. Though I’d give up either for a decent drink.
SECOND INTERN
Maybe after we’re done helping the Senator prepare for the committee tomorrow. You know D.C - every hour is happy hour.
FIRST INTERN
I have to say, I thought a summer in the nation’s capitol would be a bit more... glamorous.
SECOND INTERN
That’s what you expected interning in the swamp would be? Glamorous?
FIRST INTERN
I mean, sure. Surrounded by all this history, getting to be in the thick of the legislature, making my mark... and then puking my guts out in some gutter on U-Street every Saturday night. Definitely something better than this slave trade.
SECOND INTERN looks at her as FIRST INTERN opens a door with a nameplate that reads: SENATOR ELIZABETH MATHESON
FIRST INTERN
OK, slave trade is a bit much but...
The two see MATHESON, female, 50s, laying on the floor, convulsing.
FIRST INTERN
Oh my god!
She turns to SECOND INTERN.
FIRST INTERN
Go get help!
SECOND INTERN runs out of the office and FIRST INTERN gets down on the floor.
FIRST INTERN
Ma'am! Can you hear me? Help is on the way!
MATHESON grabs her hand hard and exclaims.
MATHESON
They've taken me!
QUICK FLASH - INT. WHITE ROOM
MATHESON is strapped to a metal table filled with blinding white light. FUTURISTIC MEDICAL INSTRUMENTS surround her.
BACK TO SCENE
FIRST INTERN
Who's taken you? Where?
MATHESON
I don't know! White light is blinding. I'm aboard their ship.
QUICK FLASH - INT. WHITE ROOM
MATHESON watches as a PROBE from the ceiling extends downward and begins to emit a LASER. It burns her body and she screams in pain.
BACK TO SCENE
MATHESON
They're hurting me! Oh my god! What are they doing to me?
QUICK FLASH - INT. WHITE ROOM
In tears, Matheson looks to her side. She sees the SILHOUETTE of a figure... Could be a man, could be an alien. Too hard to tell.
BACK TO SCENE
PARAMEDICS and an ASSORTED CROWD have now arrived. Matheson has stopped convulsing. Her mouth is moving, trying to say something. Finally, it comes out.
MATHESON
They're among us.
Matheson stares blankly as the crowd wonders what is going on.
FADE OUT
END OF TEASER
ACT ONE
FADE IN
SCENE 2
INT. UNREMARKABLE HOUSE - MORNING
A laptop streaming "The Truth Squad with Tad O'Malley."
TAD O'MALLEY
Cell phone footage leaked exclusively to Truth Squad shows the Senator on the floor of her office convulsing and describing unknown abductors who take her aboard a spaceship and torture her. It ends with her repeating "They're among us" several times until paramedics take her away. At this time, her office has released no statement regarding the video.
PULL OUT
MULDER is sitting at his desk. SCULLY walks through the front door of the house with a bag of GROCERIES.
SCULLY
Hey.
Mulder looks up at her.
MULDER
I might have to vote this year.
Scully puts the groceries down on a table and stares at the TV.
SCULLY
What do you mean this year?
Mulder turns the laptop around.
MULDER
Well, to my knowledge, this is the first time a U.S. Senator was seen reliving a traumatic memory of what sounds like a classic alien abduction scenario.
Scully looks at the screen.
SCULLY
Elizabeth Matheson? Isn't that Richard Matheson's daughter?
MULDER
Yeah, the governor appointed her to fill the remainder of his term when he passed away. She's running in this year's election to make sure the seat stays in the family. Some even see her as a future presidential contender.
SCULLY
Sounds like you've been following her career some.
MULDER
She worked to get funding for the Advanced Aerospace Threat Identification Program - otherwise known as the Pentagon's secret investigations into UFO's - before it just happened to end in 2012. She's continued to call for more research.
He points to the laptop.
MULDER
And now she's showing clear signs of having post-abduction stress disorder.
Scully raises an eyebrow.
SCULLY
Didn't learn about that one in medical school.
MULDER
Scull-
SCULLY
(interjects)
I know what she may have experienced, Mulder. I know it all too well, in fact. The question is, what triggered her memories? Why are they surfacing now?
MULDER
I don’t know.
(beat)
We need to talk to her.
Scully gives him a look.
MULDER
Who else is better qualified to interview someone about their abduction experiences?
SCULLY
No way Kersh is going to allow us near a United States Senator.
MULDER
Scully...
He points to her belly.
MULDER
You're starting to show and we're no closer to finding out what these alien body snatchers are up to. If there's anything she can tell us that'll provide any clues, we need to know and now.
Scully nods and Mulder pulls out his phone.
SCULLY
What are you doing?
MULDER
Seeing if I have any cred with the Matheson clan left.
Mulder dials a number and it starts to ring.
CUT TO:
SCENE 3
INT. DOGGETT'S APARTMENT - MORNING
JOHN DOGGETT wakes up in his bed. He moves the covers, gets up, and walks into the kitchen to start some coffee. As it pours, he looks out his window. He sees a VAN parked across the street that rouses his suspicion.
CUT TO:
SCENE 4
EXT. STREET - MORNING
Two MEN, early 30s, green as grass, sit and watch the street.
POV
In the rearview mirror, Doggett is seen approaching the car.
Before they can react, he pounds on the window. Startled, the man in the driver's seat rolls it down.
DOGGETT
What'd you guys drive here directly from the academy? If you're staking me out, just tell me who sent you so we can get this show on the road.
The men look at each other, sharing the embarrassment of being found out so quickly.
SCENE 5
INT. REHABILITATION CENTER - MORNING
CLOSE UP
The face of WALTER SKINNER, groaning in pain.
PULL OUT
A rehabilitation center. Skinner is trying to a few steps with a walker as a THERAPIST, male, 20s, watches.
THERAPIST
Come on! You can do it. I want a few more steps.
Skinner stops, contemplating giving up.
THERAPIST
Come on, Walter. You gonna give up now? Thought you were some big, tough assistant director at the FBI.
The egging on works. Skinner forces himself to go a little further, giving the therapist a look.
THERAPIST
Good. That's what I want to see.
He helps Skinner get into a WHEELCHAIR.
THERAPIST
You're making progress.
SKINNER
(exasperated)
Really? Because sometimes I do this I feel like I'd rather be back in Vietnam running through jungles again.
The therapist smiles.
THERAPIST
You'll get there. You need help back to your room?
SKINNER
No, I got it.
THERAPIST
Alright. I'll see you tomorrow morning, OK?
Skinner nods and the therapist walks away. He takes a minute to ponder his situation, then turns around his wheelchair to exit.
SCENE 6
ESTABLISHING SHOT
The Hoover Building.
INT. KERSH'S OFFICE - DAY
Doggett is shown into the office by KERSH'S SECRETARY who closes the door as she leaves. Doggett sees KERSH sitting on the corner of his desk and ERICKSON standing on the opposite side.
KERSH
Nice to see you, John.
Doggett stares at him.
DOGGETT
Let's not pretend that's true, sir. What am I doing here?
Kersh nods his head towards a chair in front of his desk.
KERSH
Have a seat.
Doggett slowly comes near the desk and sits in the chair.
KERSH
John, this is Assistant Director Erickson.
Erickson bends down toward Doggett to shake his hand.
ERICKSON
Alexis. Nice to meet you.
KERSH
A.D. Erickson is filling in for A.D. Skinner while he's in recovery.
Doggett is ready for them to get to the point.
DOGGETT
Now that the pleasantries are over, care to tell me why you had a van outside my apartment?
ERICKSON
I apologize for that. Not the best work by my agents.
KERSH
(interjects)
I'll get to the point, John. For the past two months, we've been searching for your former partner, Monica Reyes.
Doggett mouth's an inaudible "Ah."
DOGGETT
And you think I've been in contact with her. Hate to break it to you, but I haven't seen or heard from her in fourteen years. For all I know, she's dead.
ERICKSON
But her body was never found.
Doggett turns towards her.
DOGGETT
And just because of that you're violating my Fourth Amendment rights? I don't think so. Doesn't make sense.
(beat)
Not unless you have more reason to believe she's still alive.
Erickson looks over to Kersh and he gives her a slight nod.
She grabs an ENLARGED PHOTO on the desk and hands it to Doggett. It's the building surveillance photo of Reyes.
ERICKSON
This was taken the night she was shot by a nearby security camera. She survived and escaped.
Doggett looks at it. You can see in his eyes he's overcome with emotion, but he returns to a stoic face before he talks again.
DOGGETT
What do you want from me?
KERSH
Monica Reyes is wanted for the attempted murder of A.D. Skinner, as well as conspiring to unleash a biological weapon. We believe, as her former partner, she might come to you for help.
Doggett places the photo on Kersh's desk.
DOGGETT
As I said, I haven't been in contact with her. She wouldn't come to me. We had a falling out a long time ago.
(beat)
So you can quit putting vans outside my apartment. Am I done here?
Kersh looks over to Erickson and then back to Doggett.
KERSH
Yes. Thanks for coming in, John.
DOGGETT
Yeah. Good times.
Doggett gets up and leaves. Kersh turns to Erickson.
KERSH
Keep surveilling him. Now that he knows she's alive, he'll be even more determined to find her.
(beat)
He'll do the work for us.
Erickson says nothing and looks at the photo of Reyes.
CUT TO:
SCENE 7
ESTABLISHING SHOT
Capitol Hill.
INT. CAPITOL BUILDING - DAY
Mulder and Scully walk towards Matheson's office. The door is halfway open. Mulder starts to slowly push it open.
MATHESON (O.S.)
Come in.
They enter the office.
MATHESON
You must be Agent Mulder and Agent Scully.
SCULLY
Yes, ma'am. Thank you for seeing us.
Scully shuts the door as Mulder looks around the room.
MULDER
This is your dad's old office... I remember coming here once and he was playing Bach‘S Brandenberg Concerto Number Two. He corrected me when I misidentified it.
MATHESON
Dad loved his Bach.
Matheson instructs them to sit and they do.
MULDER
He played it for me because it's included on the gold record sent with Voyager One in case it ever comes in contact with an extraterrestrial biological entity. Not long after he died, it fired up its thrusters for the first time in decades, extending its life.
(beat)
I think he'd be comforted it's still out there.
Mulder and Matheson share this moment, but Scully brings the discussion back to the matter at hand.
SCULLY
How are you feeling, Senator? You went through quite an ordeal.
MATHESON
Oh, the seizure. I'm fine. The doctors gave me some pills.
SCULLY
Did you have a history of seizures before?
(beat)
Sorry, I'm a medical doctor.
MATHESON
No, but I'm told it's not uncommon for people my age to develop them.
Matheson shifts her attention quickly to Mulder.
MATHESON
Agent Mulder, my dad thought highly of you.
MULDER
Without his early support, I never would have been allowed to work on the X-Files. I regret our relationship ended. I'm very sorry for his passing.
MATHESON
Thank you.
MULDER
You seem to be carrying on his legacy though, in a few ways.
Matheson sits back in her chair.
MATHESON
Yes, well, all that's in danger now due to the video.
(beat)
I know that's why you're here. It could destroy my chances in November. A Senator who takes UFOs seriously is one thing. One that thinks she was abducted by aliens, quite another. I accepted this meeting only because my father trusted you.
MULDER
(empathetic)
I promise you, you have our utmost discretion.
(beat)
Tell us what you saw when you were talking on the video.
Matheson takes a deep breath.
MATHESON
I was in a room filled with blinding white light.
FLASH INSERT: MATHESON ON THE TABLE
MATHESON (V.O.)
I was laying on my back, my arms and legs restrained. I'm naked except for a thin sheet over me.
BACK TO SCENE
These details remind Scully of her abduction, something that will always haunt her memory.
MATHESON
Surrounding me were instruments... tools they used on me.
FLASH INSERT: MATHESON BEING PROBED AND BURNED
MATHESON (V.O.)
It felt like they tore me open and put me back together.
BACK TO SCENE
This time it's Mulder who is reminded of his own, similarly violent, experience.
MULDER
Did you see them? The ones doing this to you?
Matheson closes her eyes.
FLASH INSERT: MATHESON SEEING THE BLURRED FIGURE BACK TO SCENE
Matheson opens her eyes.
MATHESON
No.
(beat)
I saw a figure, but I couldn't tell who, or what, it was.
SCULLY
It's OK. That's common, actually. Especially since this is the first time you've recalled these memories, much of it is going to be hazy and not make much sense. I had a similar experience... it took a long time before I remembered much about it.
She tilts her head towards Mulder.
SCULLY
For Agent Mulder, it wasn't until he started regression therapy as an adult that he truly started to remember what happened to his sister when they were kids.
Mulder looks over at her. Their abductions have bonded them in a way perhaps they've never considered before.
MATHESON (O.S.)
You don't understand...
Matheson looks at her and then Mulder curiously.
MATHESON
These aren't past memories that are just now surfacing. This is happening to me now. They've been taking me.
MATHESON
(beat)
And they're going to take me again.
Mulder and Scully are shocked by this statement. At a loss of words, they wonder what to do next.
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
SCENE 8
INT. CHEAP MOTEL - DAY
A SHOWER turns off. A WOMAN, late 40s, brunette, in good shape gets dressed while her face remains unseen. After putting on her leather jacket, she pulls open a drawer and takes out a GUN. She COCKS it puts it behind her in her pants.
FOCUS ON
The open drawer, as we see the woman exits the room in the background.
SCENE 9
EXT. STREET - DAY
A LEGEND appears: Norfolk, Virginia
John Doggett drives down the street in his motorcycle. He comes to an abandoned building and parks on the curb outside.
CUT TO:
SCENE 10
INT. ABANDONED BUILDING - DAY
Doggett walks inside the building. He reaches into his leather jacket for a FLASHLIGHT and turns it on, shining it on pieces of wood, broken glass, mounds of debris, etc. It takes awhile, but he eventually notices something on the ground. He gets closer to it and sees it is a CRUMBLED PACK OF MORLEY CIGARETTES.
FLASH INSERT: Reyes throwing the pack of cigarettes.
BACK TO SCENE
Doggett shines the light around it, revealing a few SPOTS OF DRIED BLOOD. He picks up the pack of cigarettes and looks inside. He finds a MATCHBOOK. It reads: "OLD DOMINION MOTEL"
CUT TO:
SCENE 11
EXT. STREET - DAY
Doggett exits the building and gets on his motorcycle.
POV
Someone watches Doggett with binoculars as he rides away.
CUT TO:
SCENE 12
INT. CAPITOL BUILDING - DAY
Mulder and Scully exit Matheson’s office into the hallway.
Mulder turns towards her.
MULDER
Scully, what she‘s experienced.. what she’s experiencing is significant. She could be the key...
SCULLY
(interrupts)
The key to everything? How many times have we thought that before?
MULDER
What, you don’t believe her? We’ve both lived through what she described ourselves.
SCULLY
That‘s precisely what makes me question it. Why now? Why would this be happening again?
MULDER
I don’t know, but she’s too credible to ignore.
SCULLY
Mulder, like you said, she’s fought to bring back funding for her UFO program. This story justifies it.
MULDER
She’s not promoting this. You heard her, she’s scared this will ruin her career.
SCULLY
Alright, so what do you propose we do?
MULDER
If what she’s saying is true, she’s going to be in danger. She needs to be protected.
Mulder walks back in Matheson's office. Scully remains concerned but follows him.
MATHESON
So what’s the verdict? I am just crazy?
MULDER
No, what you describe it consistent with known cases of abduction.
He looks to Scully.
MULDER
Including the ones Agent Scully and I experienced.
Matheson is surprised by this.
MATHESON
So what now?
MULDER
We conduct some tests to try and see what they did to you. Given Agent Scully is a medical doctor so being examined by her shouldn’t arouse too much attention.
Matheson looks to Scully.
MATHESON
Let’s get this done.
CUT TO:
SCENE 13
INT. REHABILITATION CENTER - DAY
Skinner enters his room. He moves his wheelchair by his bed and begins to life himself up With great strain. When he is finally able to get on it, he rests his head on the headboard and closes his eyes.
FLASH BACK
Skinner remembers being run over by the car and later being carried out on a stretcher.
BACK TO PRESENT
Skinner opens his eyes, staring blankly at the ceiling.
CUT TO:
SCENE 14
INT. OUR LADY OF SORROWS - EVENING
Senator Matheson sits in a hospital gown on a bed in a patient room. Scully exits to talk to a waiting Mulder outside. He sees shock on her face.
MULDER
What is it, Scully?
SCULLY
I'm not sure I was prepared for what I found, Mulder.
(beat)
When I first examined her, I found little sign of physical trauma. No scaring, just a few scoop marks which I know you'll think are consistent with alien abduction cases.
FLASH INSERT
Scully looks over Matheson's body.
BACK TO SCENE
SCULLY
The X-Rays showed an entirely different story. The amount of internal scar tissue she has is like nothing I've ever seen.
FLASH INSERT
Matheson's body being cut by a laser, then being sutured by one.
BACK TO SCENE
SCULLY
I don't know of anything that could explain it.
(beat)
Mulder, it's almost as if what she said about being torn apart and put back together is what actually happened.
Mulder is taken aback by these findings.
SCULLY
And that's not the only thing.
She holds up a FILE she had in her hand.
SCULLY
She shows a loss of body mass, muscle atrophy and osteopenia. At first, I thought this was just a part of the same condition, but preliminary blood work shows a depletion of both red and white blood cells. Now, taken together, these symptoms...
MULDER
(interrupts)
Are indicative of the effects of long-term space flight on the human body.
Scully nods.
MULDER
I think it's clear she was being experimented on. But for what?
SCULLY
I don't know. I haven't found anything yet that suggests the purpose of what's been done to her.
MULDER
Well, if it can happen to a Senator, it can happen to anyone.
He looks towards the door.
CUT TO:
SCENE 15
EXT. HIGHWAY - EVENING
Doggett rides down a highway as the sun sets. He checks a map on his phone. As he looks back up, he sees in his rearview mirror a SUSPICIOUS CAR following behind.
DOGGETT
Right on cue.
Doggett speeds up, as does the car behind him. He begins to weave through some cars, trying to shake them off. Before they can catch up to him, he takes a sharp turn to exit the highway, losing the vehicle.
CUT TO:
SCENE 16
EXT. COUNTY ROAD - NIGHT
Mulder and Scully drive with Matheson in the back seat.
Suddenly, a BRIGHT LIGHT in the sky in his rear view mirror.
As it draws nearer, Scully and Matheson notice it too. Mulder looks back again and the light moves wildly across the sky.
MULDER
That's not a helicopter.
(beat)
We've got company.
Mulder ACCELERATES the car, but the light quickly catches up to them. The car begins to slow down.
SCULLY
Mulder, what are you doing?!
MULDER
It's not me! I'm not driving the car anymore!
The car grinds to a halt as its lights flicker and radio goes haywire.
FOCUS
The DASHBOARD CLOCK reads: 9:03
The car turns off and becomes bathed in white light. They suddenly hear the SOUND OF METAL BENDING as the top of the car shakes.
MATHESON
What is happening?!
MULDER
(deadpans)
I think we're about to find out.
They are all frightened as the roof of the car is torn off.
Looking up they can see a LARGE, TRIANGULAR UFO similar to ones we've seen before. Mulder and Scully look back at Matheson. She SCREAMS as a vortex of light focuses on her and she starts to convulse.
MULDER
(yelling)
No!
Being lifted into the air by a beam, Matheson rises until she disappears inside the UFO. The light vanishes and so does the craft.
FLASH CUT
Mulder and Scully jolt awake as if coming out of a dream. The car is intact and the ignition is turned on. Matheson is unconscious. They look at each other in sheer awe at what has just transpired.
FOCUS
The DASHBOARD CLOCK reads: 9:13
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
SCENE 17
INT. MOTEL - NIGHT
A MOTEL EMPLOYEE, male, 20s, sits bored at the front desk. He watches Doggett as he parks outside. Doggett enters the motel and approaches him.
EMPLOYEE
Hey man, need a room?
Doggett takes off his sunglasses.
DOGGETT
Actually, I’m wondering if you can help me. I’m looking for someone who might have stayed here.
Doggett pulls out his phone and shows the employee a PICTURE of Reyes.
EMPLOYEE
Yep, checked out earlier today actually.
DOGGETT
Are you sure it was her?
EMPLOYEE
Oh, yeah. I remember her. She‘s a woman who’s aged as fine as wine.
Doggett is both relieved to find she had been here and disappointed she has already left.
DOGGETT
Same room still available?
CUT TO:
SCENE 18
INT. MOTEL ROOM - NIGHT
Doggett opens the door to the motel room. He walks in, sits some things on a table, and starts to look around.
Seeing nothing obvious, he starts to look through drawers but finds nothing.
DOGGETT
Come on, Mon... You must have left me a sign.
POV
Closet, as he opens it. Finds nothing.
POV
Shower curtain pulled back. Nothing there.
He sighs and thinks.
POV
Under the bed. Nothing.
Doggett falls back on the bed. He allows himself to drift off in reverie.
FLASH BACK
Doggett and Reyes are in bed together in a similar motel room.
REYES
Well, this has been a nice afternoon.
They smile at each other. Doggett looks around the room.
DOGGETT
You know, we don’t have to come to places like this. It’s not like either of us are married and we're having an affair.
REYES
I like places like this.
DOGGETT
Cheap motels?
She kisses him.
REYES
It‘s dirty.
DOGGETT
Literally.
She laughs and lays her head on his chest, stroking his bare chest with her hand.
REYES
There’s character in them. Think of everything they’ve seen.
DOGGETT
I don’t want to know everything they’ve seen.
(beat)
But if you like it, I like it.
She lifts her head up toward him and he stares at her.
REYES
What? What is it?
DOGGETT
Nothing.
(beat)
I just haven’t been this happy in a long time.
He strokes her hair.
BACK TO PRESENT
Doggett closes his eyes.
CUT TO:
SCENE 19
INT. OUR LADY OF SORROWS - MORNING
Erickson walks the halls of the hospital furiously until she comes to a patient room. She opens the door and finds Mulder and Scully inside with Matheson in a hospital bed.
ERICKSON
You two. With me. Now.
Mulder and Scully look like a couple of children about to be grounded and walk into the hallway.
ERICKSON
Close the door.
Scully closes the door behind her.
ERICKSON
What is her condition, Agent Scully?
SCULLY
Overall... she's fine. There's nothing identifiably wrong with her. Right now, she just needs rest and fluids.
ERICKSON
Good. You'll immediately release her care to another doctor.
Scully begins to open her mouth, but Erickson quickly continues.
ERICKSON
Deputy Director Kersh doesn't know about this yet and what you say next is going to determine whether I keep it that way or not.
(beat)
Now either one of you want to tell me what you're doing here?
MULDER
We're looking into the Senator's mysterious condition - and what's behind it.
ERICKSON
(pointedly)
I don't remember ever authorizing you to do so.
SCULLY
Assistant Director, Mulder is a friend of the family.
ERICKSON
Pretty sure Agent Mulder's a big boy, Agent Scully. He can speak for himself.
She turns back towards Mulder.
ERICKSON
How do you justify this as an X-Files case?
MULDER
Senator Matheson described to us vivid memories of being abducted by and experimented on by aliens, which she claims is ongoing.
Erickson is maybe less surprised by this than you would expect.
ERICKSON
According to your own findings, this phenomena ended some time ago.
Mulder and Scully are surprised at Erickson's knowledge.
MULDER
Given her stature and little motive to lie, Scully and I feel her story is credible.
SCULLY
Not to mention what happened to all of us tonight.
ERICKSON
Which was what exactly?
MULDER
We lost nine minutes.
ERICKSON
What does that mean?
SCULLY
None of us have a recollection of a period of nine minutes, in which Senator Matheson seems to have had another seizure and fell unconscious.
ERICKSON
OK, say that’s true. How do you explain that?
MULDER
The distortion of space-time caused by a warp drive used by a UFO or alien replica vehicle.
ERICKSON
Warp drive? Like what the Starship Enterprise has?
MULDER
Well, not exactly...
Erickson looks to Scully.
ERICKSON
Is there a scientific basis for this?
SCULLY
It’s highly speculative, but theoretically, it’s possible.
MULDER
So much so that the Defense Intelligence Agency conducted research into it, by some accounts up through last year.
SCULLY
Something the Senator herself advocated for.
ERICKSON
Alright, I’m willing to be open-minded here. But let’s say it’s true, the question remains how we turn this into an FBI investigation?
MATHESON (O.S.)
One won‘t be necessary.
A dressed Matheson exits the room. She talks to Erickson.
MATHESON
It’s clear these seizures are causing vivid hallucinations. I’ll be working with my own doctors to keep them under control. Right now, I need to prepare for a public forum taking place tomorrow.
SCULLY
Senator, you shouldn’t...
Matheson looks to Mulder and Scully.
MATHESON
I appreciate your help, truly. But I can’t afford for this to be any bigger of a distraction.
(beat)
MATHESON
It was nice to have met you, Agent Mulder. I see what my father saw in you.
Mulder gives a slight nod, as he and Scully are left dumbfounded by her change of heart.
CUT TO:
SCENE 20
INT. SKINNER'S APARTMENT - MORNING
The door to Skinner's apartment opens and he enters. Behind him is his therapist.
THERAPIST
You need any help?
SKINNER
No, I got it. Just picking up a few things. Thanks for bringing me.
THERAPIST
You got it. Take as much time as you need. I'll be out here.
Skinner tries to navigate his apartment, having not been set up for someone in a wheelchair. He heads to his bedroom. When he enters, he begins going through some drawers and gets out clothes and miscellaneous items. He opens one drawer and sees his DOG TAGS and PURPLE HEART. He runs his hand over them.
FLASH INSERT
[Quick montage of existing scenes of Skinner in Vietnam.]
BACK TO SCENE
Skinner looks into another drawer and sees his OLD WEDDING RING. He holds it up.
FLASH INSERT
[Quick montage of existing scenes of Skinner and his ex-wife.]
BACK TO SCENE
Skinner closes the drawer and looks up. He sees AWARDS and COMMENDATIONS he's received from the FBI over the years.
He glares at them, musing about his career and about what to do next.
CUT TO:
SCENE 21
INT. MOTEL ROOM - MORNING
Doggett wakes up. The room is filled with daylight now. He gets up and heads to the bathroom.
CUT TO:
Doggett leaves the shower in a towel and sits on the bed to ponder what to do next. Suddenly, he looks at the PHONE sitting on the table by the bed. He picks up the receiver and hits REDIAL. It rings until someone picks up.
VOICE
Matheson for Senate campaign, how can I help you?
Doggett is surprised.
DOGGETT
Yeah, I...
VOICE
Sir?
He thinks of what to say.
DOGGETT
I'm a big supporter of the Senator. I was hoping to meet her. Is there some sort of meet-and-greet coming up?
VOICE
The Senator is actually speaking at a forum in D.C. this afternoon. It's free to the public. Would you like directions?
DOGGETT
Yes, thank you.
VOICE
Thank you for your support!
Doggett waits for the information, both optimistic and wary of where it might lead.
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
SCENE 22
INT. THE X-FILES OFFICE - DAY
Mulder has his feet propped up on his desk while he reads X-Files. Scully walks in and closes the door behind her. She notices his posture.
SCULLY
Reminiscing about good times while we await reprimand?
Mulder puts his feet down and holds up the file currently in his hand.
MULDER
I've been going over our case files concerning alien abductions.
He throws it onto the pile.
SCULLY
Why? What are you looking for?
Mulder slightly throws his hands up.
MULDER
Senator Matheson... the details of her memories. It's consistent with our past cases.
Scully cocks her head.
SCULLY
So what's the problem?
MULDER
It's consistent with all our past cases. It's almost as if someone created an amalgamation of them, picking out different details and arranging them into a single narrative.
SCULLY
Someone? You think this was staged? That she wasn't really abducted?
MULDER
No, the physical evidence you found bears that out. I just think the details were fabricated. That the purpose of her abduction is something totally different than anything we've seen before.
Scully nods.
SCULLY
Well, I have evidence that may bare out your theory.
MULDER
Oh?
Scully holds up a FILE.
SCULLY
These are the results of the more extensive tests done on Matheson's blood samples. It found numerous genetic abnormalities that lack conventional scientific explanation.
Mulder perks up.
SCULLY
That, in my view, are most likely due to the introduction of alien DNA in ways we haven’t seen before.
(beat)
Mulder, what‘s been done to her has changed her genetic makeup in a fundamental way. To what end, I haven't been able to determine yet.
Mulder ponders this.
MULDER
Well, maybe the experiment isn’t over.
Scully watches as he quickly stands up and grabs his suit jacket.
MULDER
Let's go.
Mulder opens the door. Scully knows it's pointless to try and slow him down for an explanation and follows.
CUT TO:
SCENE 23
INT. KERSH'S OFFICE - DAY
Skinner is shown in by Kersh's secretary.
SKINNER
Thank you.
Kersh gets up from his desk.
KERSH
Walter, good to see you.
They shake hands.
KERSH
I'm told your doctors think you'll be back on your feet in no time. I'm sure you're eager to get back in that office.
Skinner doesn't respond. He reaches into his jacket to get out a FOLDED LETTER and hands it to Kersh.
SKINNER
I came here to give this to you personally.
Kersh stares at him, wondering what this is about. He opens the letter and reads through it. When done, he folds it back up and places it on his desk. He then removes his glasses and gets out a cloth to start cleaning them with.
KERSH
You're retiring.
Kersh puts his glasses back on. Skinner stares back, letting him know he's firm in his decision.
CUT TO:
SCENE 24
INT. PARKING GARAGE
POV
Someone watches as Mulder and Scully walk to their car in the parking garage.
WOMAN (O.S)
Agent Mulder.
Mulder and Scully both turn around, looking for whomever just spoke. The woman comes out from behind a column, revealing herself to be MARITA COVARRUBIAS, who has aged very gracefully. Mulder and Scully are both stunned by her sudden reappearance.
MULDER
Marita?
MARITA
Seeing me must come as a shock. To both of you. I know it's been a long time.
Mulder turns to Scully and then back at Marita.
MULDER
Seems like a lifetime ago.
(beat)
But I'm guessing you're not here just to catch up.
MARITA
I've come to bring you information. Information on the conspiracy I once would not speak about when called as a witness to the trial you were put on all those years ago.
The three of them recall the incident before she continues speaking.
CUT TO:
SCENE 25
INT. AUDITORIUM
A LEGEND appears: Andrew W. Mellon Auditorium
A crowded auditorium. Matheson, along with OTHER MEN AND WOMEN of similar age, sit on chairs on the stage. A female MODERATOR addressed the crowd.
MODERATOR
Welcome, everyone. Thank you for joining us at our forum. We have a lot of good panelists joining us and I'm sure we're in for a lively discussion.
(beat)
First and foremost though, I want to say I'm glad that Senator Matheson could be here with us today.
She motions toward Matheson and there's clapping in the audience. Matheson nods her thanks.
MATHESON
Thank you. Let me say here first that I have been working with my doctors and everything is fine and under control. I have no outstanding health concerns. I'm ready to put this matter behind and get back to work dealing with issues of great importance to our country, such as the ones we will discuss today.
CUT TO:
Doggett enters the auditorium. He starts scanning the crowd looking for any sign of Reyes as the panelists hold a discussion in the background. Suddenly, in the corner of his eye, he sees the brunette woman with a leather jacket seen earlier exit the auditorium into the main hall. Doggett quickly leaves as well and jogs towards the direction she went. He only sees the back of her as she continues to walk the opposite way, so he speeds up in an attempt to catch up with her.
DOGGETT
Hey!
No response from the woman as she continues walking.
DOGGETT
Monica!
She stops but doesn't turn around.
DOGGETT
It's me, John!
The woman starts to run. Not understanding why Doggett follows. She leaves the building through an EMERGENCY EXIT DOOR, setting off a FIRE ALARM.
CUT TO:
Inside the auditorium, the panelists and audience react to the fire alarm.
MODERATOR
Don't be alarmed, everyone. Let's please leave the building in an orderly fashion.
A middle-aged male AIDE helps Senator Matheson down from the stage and toward an exit.
CUT TO:
EXT. OUTSIDE AUDITORIUM - DAY
Doggett exits through the same door the woman went out of and frantically looks around for her.
CUT TO:
Matheson is lead outside by her aide toward a BLACK SUV. The back of the woman steps in frame.
CLOSEUP
Monica Reyes. Her face is stoic, her eyes trained on Matheson. She reaches from behind to grab the GUN stored in the waist of her pants. She raises it up, pointing straight at Matheson. But before she can fire, she is tackled to the ground by Doggett.
DOGGETT
(yelling)
Monica, what are you doing?!
He holds her down.
REYES
John, you don't understand!
She fights him to get up.
REYES
You don't understand what she is. What they've turned her into!
Doggett stares at her in confusion.
REYES
You have to let me kill her. She has to die!
Doggett slowly releases her grip, shocked by what she's said.
MAN (O.S.)
Put the gun down! Now!
Doggett and Reyes look over and see POLICE OFFICERS and POLICE CARS. Reyes drops her weapon and puts her hands up and they come to cuff her. Doggett watches in disbelief at what's come of their reunion before turning to look at Matheson, staring at her.
CLOSEUP
Matheson, as she watches the scene without emotion.
DISSOLVE TO:
SCENE 26
INT. WHITE ROOM
Matheson lies unconscious on the table in the ship that took her. The figure that was once hard to make out quickly becomes clear: It is MR. Y. He walks up to her and looks her over. He takes his hand and slowly feels the base of her neck down to her spine, all of which looks normal. Pleased with himself, he turns around and walks away, fading in the distance.
CLOSEUP
Matheson, as she opens her eyes with the same cold look as in the present.
FADE OUT
A large LEGEND over the black screen appears: TO BE CONTINUED
END OF ACT FOUR
THE END
HISTORY
No history.