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SCENE 1[]
NAVAJO RESERVATION TWO GREY HILLS, NM APRIL 9
(Night. Eric, a teenage boy, is asleep in bed. He is awoken by an earthquake shaking objects off his shelves and nightstand.)
(The next morning, Albert (Eric's grandfather) and another man (Eric's father) sit at a breakfast table.)
VOICE (RADIO): ...rocked northwestern New Mexico this morning. Centered somewhere under the desert, the 5.6 tremor was felt as far away south as Corona and Roswell. No immediate...
MAN: Where are you going?
ERIC: Riding. I'll be back in a few hours.
ALBERT: Eric. Leave the snakes alone today. They'll be angry and afraid.
(Eric nods and leaves, a piece of toast in his mouth.)
MAN (in Navajo): <What is it?>
ALBERT (in Navajo): <The Earth has a secret it needs to tell.>
(Eric rides to a red rock quarry. He sees a swath of white metal down in the quarry, goes down to brush the sand from it.)
(Back at the reservation, Eric opens the front door.)
ERIC: I found something. You better come see.
(Outside, six children are standing over something.)
WOMAN (OS): Robert, come home right now!
(A young boy runs off, leaving a gap in the circle.)
ERIC: What do you think it is?
MAN: I don't know.
(Albert says something in Navajo and goes back inside.)
ERIC: What did he say?
MAN: He said it should be returned. They will be coming.
(The object appears to be the desiccated corpse of an alien.)
SCENE 2[]
DOVER, DE APRIL 10
(The Thinker is reading The 50 Greatest Conspiracies of All Time while a program runs on his computer. Abruptly, it starts bleeping. The screen reads "Host condition met; Access granted / Now logging correct user password." A popup reading "ACCESS GRANTED" is flashing.)
THE THINKER: You bitch! Beautiful!
(He inserts a DAT into a tape drive.)
SCENE 3[]
UNITED NATIONS BUILDING NEW YORK CITY, NY APRIL 10
(Antonio, a besuited government agent, is walking down a hall. He knocks on a door.)
ITALIAN OFFICIAL (within): Avanti.
(He enters.)
ITALIAN OFFICIAL (in Italian): <What is it Antonio?>
ANTONIO (in Italian): <Someone has broken into the MJ documents.>
ITALIAN OFFICIAL: <Who would do such a thing?>
(The official picks up the phone, dialing.)
ANTONIO: <I don't know.>
JAPANESE OFFICIAL (on the phone, in Japanese): <From whom did you hear this? Has everyone been told?>
GERMAN OFFICIAL (on the phone, in German): <Yes, I understand. No this is their problem. They must take care of it promptly.>
(He hangs up and dials another number.)
CIGARETTE SMOKING MAN (picking up the phone): Yes?
GERMAN OFFICIAL: <You are familiar with the MJ file?>
CIGARETTE SMOKING MAN (in German): <Yes. I have already taken care of it.>
GERMAN OFFICIAL: <Good.>
(They each hang up.)
CIGARETTE SMOKING MAN: Gentlemen. That was the phone call I never wanted to get.
(Black Ops military break down The Thinker's apartment door, raiding his apartment and his computer.)
SOLDIER 1: Check the bedroom.
SOLDIER 2: Clear!
SCENE 4[]
WASHINGTON, DC APRIL 11
(Mulder is getting water from the tap. There are three knocks on his door. He ignores them as he downs a handful of pills, then goes to answer.)
MULDER: What are you doing here?
BYERS: Can we talk inside?
MULDER: I'm not feeling well. I didn't sleep last night.
(The Lone Gunmen pile into his apartment.)
MULDER: Really not in the mood for the Three Stooges.
FROHIKE (peering out the blinds): I don't think we've been followed.
MULDER: Who would follow you?
BYERS: A multinational Black Ops unit. Code-named Garnet.
LANGLY: Trained killers, School of the Americas alumni.
MULDER: Have you boys been defacing library books again?
FROHIKE: They don't want us. They want him.
(Frohike hands Mulder a piece of paper.)
MULDER: Kennith Soona.
LANGLY: We think that's his real name.
BYERS: You've heard us refer to him as 'The Thinker.'
MULDER: What did he do?
BYRES: Hacked into the Defense Department computer system.
MULDER (finally attentive): Why?
BYERS: The Thinker's an anarchist and a snoop. Whatever he got into has made him a very wanted man. Customs and Immigration are on full alert. Every port of egress is closed.
MULDER: What are you coming to me for?
BYERS: In his last communiqué, The Thinker named a meeting place and a three-hour time window. He asked specifically for you.
LANGLY: The only problem is he may already be dead.
(From the hallway, the sound of a gunshot. Mulder rushes out to find a crowd gathered outside another apartment. Inside, an elderly woman cries out fitfully as someone tries to comfort her.)
MULDER: What happened?
WOMAN: She just shot her husband. Married thirty years. Like she went crazy.
(Two police officers round the corner.)
COP: Everybody go back to your apartment, we'll handle this. Excuse me, sir.
FROHIKE: Weirdness.
SCENE 5[]
US BOTANIC GARDEN WASHINGTON, DC
(Mulder sits on a bench, checking his watch. As The Thinker enters, he rises to meet him.)
THE THINKER: I, I, I don't want you to know my real name. I... I just don't think it's that important that you know.
MULDER: Sounds like a line I used in a bar once.
THE THINKER: Look, I'm sorry about the wait, but I kinda got this ninja party shagging my butt.
MULDER: Why? What've you got?
THE THINKER: Well, if I'm correct I've got the original Defense Department's UFO intelligence files. Everything from 1940s and up.
MULDER: Everything?
THE THINKER: Everything. Roswell, MJ12, and beyond.
MULDER: You've read them?
THE THINKER: Not entirely. I downloaded all I could and then I split. I mean, I knew that these guys were gonna be after me.
MULDER: What makes you think they know who you are?
THE THINKER: I didn't take any precautions. I mean... [scoffs] I didn't even expect to get inside!
(Mulder reaches out to grab the manila envelope he's holding. They both keep a hand on it, holding it between them.)
MULDER: You know, they've always denied that these files even existed. What do you want from me?
THE THINKER: I want the truth. And I want you to promise that those rat bastards answer to the people.
(Mulder nods. The Thinker lets go of the envelope and jogs away.)
SCENE 6[]
FBI HEADQUARTERS WASHINGTON, DC APRIL 12
(Mulder looks at the tape and puts it in his computer. Scully walks in.)
SCULLY: Mulder, Skinner's looking for you.
MULDER (nearly manic): Come in and lock the door.
SCULLY: Why? What's going on?
MULDER: Are you familiar with the Ten Commandments, Scully?
SCULLY: You want me to recite them?
MULDER: Just number 4, the one about obeying the Sabbath, the part where God made Heaven and Earth but didn't bother to tell anybody about his side projects.
SCULLY: What are you talking about?
MULDER: The biggest lie of all.
(Mulder types. A file pops up on his computer screen. It reads: "Department Of Defense / TOP SECRET.")
SCULLY: What is this?
MULDER: The Holy Grail. The original Defense Department files. Hard evidence that the government has known about the existence of extraterrestrials for almost fifty years.
SCULLY (coming to look over his shoulder): Where did you get this?
MULDER: Your friendly neighborhood anarchist.
(Mulder opens the file. It's a wall of text, not in English. His face falls as he scrolls through it.)
MULDER: I don't believe this. This is just gibberish. (He stands, flinging a pencil holder across the room.) Damn it. I'm so sick of this crap! BS and double talk. I can't believe this.
(As he paces, Scully sits down at the computer.)
SCULLY (cautiously): Mulder, this may not be gibberish.
MULDER: It's a joke, Scully. it's a bad joke.
SCULLY: I think it's just encrypted, and I think I recognize it. It looks like Navajo. It was used during World War II. My father told me that it was the only code the Japanese couldn't break. I... I remember the long strings of consonants.
MULDER: Well, can you find out?
SCULLY: Well, only a handful of people can decipher it.
MULDER: Then find one of them.
(He moves to exit, still angry.)
SCULLY: Mulder. Are you okay?
MULDER: Yeah. I just haven't been sleeping.
(Upstairs, Skinner leaves his office and starts down the hall.)
MULDER: Sir?
(Skinner turns to face him.)
SKINNER: Agent Mulder, I need to speak with you.
MULDER: About?
SKINNER: In my office.
MULDER: Why? Is this another jerk-off assignment where I end up doing the government's dirty work?
SKINNER It's about a rumor that you may be in receipt of some sensitive files.
MULDER: I don't know anything about that.
SKINNER: Agent Mulder, listen—
(Mulder turns to leave.)
SKINNER (grabbing Mulder's shoulder): I'm talking to you—
(Mulder punches Skinner in the face and keeps coming. Skinner restrains him in a headlock.)
SKINNER: Are we finished, Agent Mulder? Are we done?
(He releases Mulder, who whirls to stand panting before him.)
SKINNER: We're done.
(Mulder strides away down the hall.)
SCENE 7[]
APRIL 13
(Skinner's receptionist shows Scully into his office, where four FBI higher-ups sit around a table. Skinner stands at the head of the table.)
SCULLY: You wanted to see me, sir?
SKINNER: Yes, Agent Scully. Please have a seat.
DIRECTOR 1: Agent Scully? You heard about the incident here in the hallway yesterday?
SCULLY: Yes, sir.
DIRECTOR 1: Do you have any explanation as to Agent Mulder's bizarre behavior?
SCULLY: No, sir. Agent Mulder told me that he was having trouble sleeping.
DIRECTOR 2: Do you think Agent Mulder confides in you, Agent Scully?
SCULLY: Of course. He's my partner.
DIRECTOR 3 [i.e. Chris Carter]: Your partner. Weren't you originally assigned to Agent Mulder to debunk his work?
SCULLY: Yes, sir. A year and a half ago. I've been writing regular reports stating the validity of Agent Mulder's work on the X-Files.
DIRECTOR 3: Would you lie to protect him?
SCULLY: Am I being accused of lying?
DIRECTOR 2: Agent Mulder has been notified of a disciplinary hearing. If there's something we learn at that meeting that you haven't stated today, you could be subject to the same summary action.
SCULLY: What action is that?
SKINNER: Dismissal without chance of reinstatement.
SCULLY: Is that all, sir?
(Skinner turns to face her. His cheek is bruised where Mulder hit him.)
SKINNER: Yes, Agent Scully, thank you.
(Scully leaves, walking out briskly past the receptionist.)
SCENE 8[]
WEST TISBURY MARTHA'S VINEYARD, MA
(The doorbell rings. Through the glass door, Bill Mulder sees the dark outline of a man. He answers the door; it's Cancerman. Behind him, an American flag whips in the wind.)
CIGARETTE SMOKING MAN: Hello, Bill.
BILL MULDER: What are you doing here?
CIGARETTE SMOKING MAN: I've come on some pressing business.
BILL MULDER: We had agreed that you would never—
CIGARETTE SMOKING MAN: That was a long time ago, Bill. There have been some unforeseen events.
(The two are sitting on the porch. Cancerman pours Bill Mulder a glass of scotch.)
BILL: No one was supposed to know.
CIGARETTE SMOKING MAN: Who could have predicted the future, Bill? That the computers that you and I only dreamed of would someday be home appliances capable of the most technical espionage.
BILL MULDER: The files should have been destroyed.
CIGARETTE SMOKING MAN: They should have, but they weren't. Regret is an inevitable consequence of life.
(He pulls out a cigarette, tapping the end against the box.)
BILL MULDER: How do you know my son has them?
CIGARETTE SMOKING MAN: The man who stole them has come forward.
BILL MULDER: Oh, God.
CIGARETTE SMOKING MAN (lighting cigarette): As always, we maintain plausible denial. The files are only as real as their possible authentication.
BILL MULDER: My name is in those files.
CIGARETTE SMOKING MAN: The files have been encrypted, of course. We have a certain luxury of time. We endeavored to prevent that fact from ever coming to light.
BILL MULDER: You wouldn't... harm him?
CIGARETTE SMOKING MAN: I've protected him this long, haven't I? Your son has been provident in the alliances that he's created. The last thing we need is a martyr in a crusade.
BILL MULDER: But if he should... learn of my involvement?
CIGARETTE SMOKING MAN: You're your own man, Bill. You always have been. But I strongly encourage you in that event... to deny everything.
(Cancerman stands to leave, putting a hand on Bill Mulder's right shoulder.)
CIGARETTE SMOKING MAN: It's good to see you again, Bill. You look well.
(Bill Mulder takes a drink, and holds his glass up to his forehead.)
SCENE 9[]
MULDER'S APARTMENT
(Mulder is asleep on his couch, and someone is walking toward him. A floorboard creaks and he wakes, lunging for his gun.)
SCULLY (quickly, holding out a hand): You didn't answer your door.
(Mulder sighs and stands down, putting his head in his hands. He is sweaty and hoarse.)
MULDER: Oh. I took a pill.
SCULLY: I couldn't find you at work. I was worried about you.
MULDER: I came home.
(Mulder takes a drink of water.)
MULDER: I must be running a fever. Maybe it's the threat of being burnt at the stake.
SCULLY: They called me in today.
MULDER: What did you tell them?
SCULLY: That nothing was wrong.
MULDER: Well, you told them the truth then.
SCULLY: Mulder, you opened the door for them. They're just looking for a good reason now.
MULDER: Okay. I'll say I'm sorry.
SCULLY: Mulder, these files, um... Who knows you have them?
MULDER: Why?
SCULLY: Because I had to lie today. And I put my job in jeopardy in order to do so. If they find out about those files—
MULDER (harshly): How would they find out?
SCULLY: Maybe they already know. The question is... is it worth it? Is this cassette worth risking everything?
MULDER: I'll tell you when I find out what's on it! Now just tell me who I can talk to about breaking that code.
SCULLY: I'm meeting with somebody in an hour. I might know something later tonight, I just need some kind of assurance that they're not going to let us hang ourselves with this. That I'm doing the right thing.
(Mulder sips his water, nods and stands. He pulls up the blinds.)
MULDER: I'll try to find out.
(He sets to work taping an X to the window.)
SCULLY: I need to know one more thing, Mulder. Why did you attack Skinner?
MULDER: I've thought about that, Scully. I honestly can't say.
(She leaves. Mulder points his lamp upwards, illuminating the X.)
SCENE 10[]
OFFICES OF THE NAVAJO NATION WASHINGTON, DC
(Josephine Doane, a Navajo Nation official, is seated at her desk holding a printout of the file. Scully sits opposite her.)
DOANE: This is all you have?
SCULLY: Currently, yes.
DOANE: There are words I recognize, but you'll need an actual code talker to make any sense of this. I know a man who might help. I can have him contact you.
SCULLY (handing her her business card): Yeah, thank you. Um, can you tell me which words you do recognize?
DOANE: This word... it means goods, merchandise. And this one means vaccination. They're both modern words, which is why they stand out.
SCULLY: Thank you. You've been very helpful.
(The illuminated X shines in the window of Mulder's apartment. He sits on the couch, looking feverish and drinking a glass of water. The phone rings.)
MULDER: Mulder.
BILL MULDER: Fox, this is your father. I need to see you right away.
MULDER: Where are you?
BILL MULDER: I'm at home. How soon can you be here?
(Mulder looks to the X on his window.)
BILL MULDER: Fox, it's very important.
(Later, Scully lets herself into Mulder's apartment.)
SCULLY: Mulder?
(She walks to his desk, picking up a sheet of paper. A gunshot zips through the window, just above the taped X, and the bullet lodges in the wall behind her. Outside, the sound of screeching tires. She lifts a hand to her head and it comes away bloody; it grazed her.)
SCENE 11[]
BILL MULDER'S HOUSE
BILL MULDER (answering the door): Fox.
MULDER: Dad.
(Mulder holds out a hand for a handshake. His father pulls him into a hug.)
MULDER: What is it, Dad?
BILL MULDER: Come in.
(He locks the door,)
(The two sit in the living room—Bill Mulder on a high wooden chair and Fox on a couch that resembles his own.)
BILL MULDER: It's... it's so clear now. Simple. It was so complicated then. The choices that needed to be made.
MULDER: What choices, Dad?
(Bill Mulder stands, looking out the window.)
BILL MULDER: You're a smart boy, Fox. You're smarter than I ever was.
MULDER: About what?
BILL MULDER: Your politics are yours. You've never thrown in. The minute you do that, their doctrines become yours. And you can be held responsible.
MULDER: You're talking about your work in the State Department.
BILL MULDER: You're going to learn of things, Fox. You're going to hear... the words. And they'll come to make sense to you.
MULDER: What words?
BILL MULDER: The merchandise.
(Bill Mulder sighs deeply. Fox stands, putting a hand on his left shoulder.)
BILL MULDER: Look, I... I've been taking some medication. You'll have to excuse me for a moment.
(Bill goes to the bathroom and opens a medicine cabinet. In the reflection of the cabinet mirror, Krycek appears. Fox, drifting off on the couch, hears a gunshot and runs to the bathroom)
MULDER: Dad?
(He opens the door. Bill Mulder lies dying on the floor.)
MULDER (whispered): Dad. Dad.
(Fox crouches over his father, holding up his head. Outside, tires screech.)
MULDER: Oh, Dad...
BILL MULDER: Forgive me...
(Bill Mulder dies. In the living room, Mulder lays his father's body on the couch, and sits in the wooden chair.)
(Scully is sitting at her dinner table. Her cell phone rings.)
SCULLY: Hello.
MULDER: My father's dead, Scully.
SCULLY: Where are you?
(Mulder is swaying back and forth. There is blood on his hands.)
MULDER They shot him. And he's dead.
SCULLY (frantic): Mulder, where are you? Just tell me where you are.
MULDER: I'm on the Vineyard.
SCULLY: Who shot him, Mulder?
MULDER: I don't know.
SCULLY: Mulder, were you arguing?
MULDER: I didn't do it, Scully. He was trying to tell me something.
SCULLY: Mulder, listen to me—
MULDER: You gotta believe me, Scully.
SCULLY: Mulder, I believe you. Just listen to me. You've got to get out of there. You have to leave immediately.
MULDER: I can't leave the crime scene. It'll look like I'm running. Like I'm guilty.
SCULLY: Mulder, they're gonna suspect you anyway, you're—you've got no ID on the shooter, your... your behavior has been irrational lately... Mulder, can't you see that everything is pointing directly at you?
(As she speaks, he hits a light switch and sinks to the floor in the dark.)
MULDER: He was shot with somebody else's weapon.
SCULLY: Damn it, Mulder, you're an FBI agent! You have access to weapons other than your own!
MULDER: All right, meet me back at my apartment.
SCULLY: No. No, you can't come home. Somebody shot through your window tonight, they almost killed me. They might be trying to kill you.
SCENE 12[]
(Scully opens her apartment door to a ragged and delirious Mulder, who collapses into her immediately.)
SCULLY: Oh, Mulder.
(He holds on to to her as she closes the door behind him and unzips his coat.)
SCULLY: My God. Look at you. You're sick.
MULDER: I'm alright. I'm okay.
(He's not. He sinks into a chair by the door.)
SCULLY: No, come on, come on, I want you to lie down on—don't—come on, I want you to lie down. Let me take your coat off.
(She takes his coat as he stumbles to her bedroom. His shirt is bloody.)
MULDER: We gotta find him, Scully.
SCULLY: No, you have to lie down. Come here.
(She guides him to the bed, and goes to wet a cloth.)
MULDER (sitting up): We gotta find out who killed my father.
(She eases him back down and puts the cloth on his forehead.)
SCULLY: Well, right now you need to rest, okay? Just rest. There. It's okay. It's okay.
SCENE 13[]
APRIL 14
(Daytime. Mulder wakes up in Scully’s bed.)
MULDER: Scully?
(His clothes are at the foot of the bed. His gun is not in the holster.)
SCENE 14[]
FBI HEADQUARTERS FIREARMS UNIT
(A ballistics expert is firing bullets into a tank.)
MAN: I'll run a comparison as soon as they send me the bullet removed from the victim.
SCULLY: How long will it take to determine if they're a match?
MAN: They're both .9mm rounds. Run the specs, compare the strike... we should know pretty much right away.
(He puts the clip back in Mulder's gun,)
(At Scully's house, Mulder dials her number.)
SCULLY: Scully.
MULDER: You took my gun.
(She sighs.)
MULDER: You think I did it, don't you?
SCULLY: I took your gun to run it through Ballistics to try and clear you, Mulder.
MULDER: Well, why didn't you ask me?
SCULLY: You had a temperature of 102 last night. I didn't want to wake you.
MULDER: What, were you afraid I was gonna shoot you, too?
SCULLY: Mulder, I'm being called in to Skinner's office this afternoon—they're gonna want answers, and I'd like some good ones to give them.
MULDER: So you can clear your conscience and your name?! You've been making reports on me since the beginning, Scully... taking your little notes!
SCULLY: Mulder, you're sick. You're not thinking straight. I'm on your side, you know that.
MULDER: Look, you have my files and you have my gun. Don't ask me for my trust.
SCULLY: Mul—
(He hangs up.)
SCENE 15[]
(Scully returns to Mulder's apartment and dislodges the bullet from the wall. Blowing off the drywall, she catches sight of an unmarked van through the window. Someone is loading a tank into the back. Down in the basement, she examines the water supply units. There's a filter on one of the tanks. She unscrews it.)
(Night. Outside, Mulder gets out of a cab and sees someone go around the side of the building. He cuts through the building to the other side. It's Krycek. Mulder reaches for his gun, then remembers that Scully has taken it.)
MULDER: Damn.
(Mulder waits for Krycek, and attacks him as he rounds the corner. After a brief but violent scuffle, Mulder points Krycek's gun at him as he holds him down on the hood of a car.)
MULDER: I'm gonna kill you anyway, Krycek, so you might as well tell me the truth. Did you kill my father? Did you kill him?! Answer me!
(Mulder drags him upwards, punching him. He falls to the pavement and Mulder kicks him in the side before dragging him upwards again, still holding the gun.)
SCULLY: Mulder! Don't shoot him. Just back away.
(Scully stands behind Krycek, her gun raised.)
MULDER: He killed my father, Scully.
SCULLY: I have him, Mulder.
MULDER: No, Scully!
(Mulder's finger tightens on the trigger. Just before he fires, Scully shoots Mulder. Krycek runs off. She runs to Mulder's side.)
WOMAN'S VOICE (OS): Oh my God. Somebody call the police.
SCENE 16[]
APRIL 16
(Again, Mulder wakes up in an unfamiliar bed. His shoulder is bandaged.)
ALBERT: He's awake.
SCULLY: Mulder? Mulder, it's me. Here, drink some of that. You haven't had any water in over 36 hours.
(He takes the glass, wincing as he sits up. Scully sets pillows behind him.)
SCULLY: Your shoulder's going to be fine. The round went through nice and clean.
MULDER: You shot me.
SCULLY: Yes, I did. You didn't give me much choice. You were about to kill Krycek.
MULDER: Why'd you shoot me? He's the one.
SCULLY: If he is, then his weapon is probably the same one that killed your father.
MULDER: What are you talking about?
SCULLY: If you killed Krycek with that weapon, there would have been no way to prove that you didn't kill your father.
(She pauses.)
I'm sorry about your father, Mulder. I haven't been able to tell you.
MULDER: How'd you know it was Krycek?
SCULLY: I didn't. I went back to your apartment to pull the slug from the wall, but I noticed an unmarked van delivering soft water... and I found this in one of the tanks servicing your building.
(She holds it up to him.)
MULDER: What is it?
SCULLY: It's a dialysis filter. It's a device used in the transmission of substances to solution. Considering the level of psychosis you were experiencing, it was possibly LSD, amphetamines, or some kind of exotic dopamine agonist.
MULDER: Oh my God. There was a murder at my building.
SCULLY: Well, it wasn't an exercise in subtlety. Mulder, these men are quite possibly the same ones who killed your father, and who systematically tried to destroy you by turning everyone you could trust against you. I don't think I have to tell you why.
MULDER: I'd gotten too close to the truth.
(He looks around for the first time.)
MULDER: Where are we?
SCULLY: We're in Farmington, New Mexico.
(At the desk, Albert rises with the printouts of the code.)
MULDER: New Mexico?
SCULLY: We've just driven two days across country. I had to put you out to let the side effects of the psychosis abate. This is Albert Hosteen. He's been translating your files.
ALBERT: You're lucky she's a good shot.
MULDER: Or a bad one.
(Scully and Mulder smile.)
SCULLY: Albert was a Navajo code talker during World War II. He helped encode the original government documents.
MULDER: How'd you find him?
SCULLY: Through a woman in Washington. But he claims that he knew you were coming.
ALBERT: Last week we had an omen.
(Albert exits.)
SCULLY: Most of these files are written in jargon, but apparently there was an international conspiracy of silence dating back to the 1940s. Albert says that evidence of these secrets are buried on a Navajo reservation not far from here. He says that he'll take you as soon as you're able.
(Mulder sits up.)
MULDER: What about you?
SCULLY: I'm afraid you're on your own with this. I didn't show up for a meeting with Skinner day before yesterday, and I don't know what the repercussions will be.
MULDER: You've taken a big risk.
SCULLY: I was certain they would have killed you, Mulder.
(He puts a hand on her arm, then walks to the bathroom.)
MULDER: Thank you. Thank you for taking care of me.
SCULLY: There's something else. My name is in those files. It appears in the latest entries with Duane Barry's.
MULDER: In what context?
SCULLY: It's not clear, but it has something to do with a test. I want you to find out, Mulder. I need you to.
SCENE 17[]
NAVAJO NATION NATIONAL RESERVATION
(Mulder is driving to the reservation. Albert sits shotgun.)
MULDER: You said you knew I was coming.
ALBERT: In the desert, things find a way to survive. Secrets are like this, too. They push their way up through the sands of deception so men can know them. Here, this is my house.
(Mulder stops the car.)
MULDER: But why me?
ALBERT: You are prepared to accept the truth, aren't you? To sacrifice yourself to it.
MULDER: I don't understand.
ALBERT: There was a tribe of Indians who lived here more than 600 years ago. Their name was Anasazi—it means ancient aliens. No evidence of their fate exists. Historians say they disappeared without a trace. They say that because they will not sacrifice themselves to the truth.
MULDER: And what is the truth?
ALBERT: Nothing disappears without a trace.
MULDER: You think they were abducted?
ALBERT: By visitors who come here still.
(Through the window, Eric comes outside. Albert goes to meet him, and Mulder follows.)
MULDER: What's buried out there?
ALBERT: Lies. You will see for yourself.
(Mulder gets on the back of Eric's bike, and the two ride to the quarry. He stops the motorcycle.)
ERIC: It's through these rocks.
(They walk to the bluff.)
ERIC: It's down there.
(Being careful of his shoulder, Mulder climbs down the rock face behind Eric. In the canyon, his cell phone rings.)
MULDER: Mulder.
CIGARETTE SMOKING MAN: You're a hard man to reach.
MULDER: Not hard enough, apparently.
CIGARETTE SMOKING MAN: Where are you?
MULDER: I'm at the Betty Ford Center, where are you?
CIGARETTE SMOKING MAN: I need to talk to you, Mr. Mulder, in person. There are things to explain.
MULDER: I'll save the government the plane fare. I just need to know which government that is.
CIGARETTE SMOKING MAN: Your father may have told you things, Mr. Mulder. I should warn you against taking those things at face value.
MULDER: Yeah, which things are those?
CIGARETTE SMOKING MAN: He was never an opponent of the project. In fact, he authorized it. That's what he couldn't live with.
MULDER: No, he couldn't live with it because you had him killed.
CIGARETTE SMOKING MAN: We weren't involved in that.
MULDER: Listen to me, you black-lunged son of a bitch. I'm gonna expose you and your project. Your time is over.
CIGARETTE SMOKING MAN: Expose anything, and you only expose your father.
(Mulder hangs up.)
(Cancerman gets out of the car. Helicopter blades whir.)
SOLDIER 1: Sir, we got a coordinate on 'F'. We're ready to go.
CIGARETTE SMOKING MAN: Let's go.
(He jogs towards the helicopter and jumps in.)
SOLDIER 1: Take 'er up!
(The helicopter takes off.)
(Back at the reservation, Mulder uncovers a plaque in the dirt. It reads: "SIERRA PACIFIC RAILROAD / RTC - 567 480".)
ERIC: Over here.
MULDER: This is a boxcar.
ERIC: Refrigeration car.
(Eric uncovers and opens a hatch, revealing pitch blackness.)
(Scully, at the motel desk, gets a phone call.)
SCULLY: Scully.
MULDER: Yeah, it's me.
SCULLY: Where are you?
MULDER: Nowhere I ever expected.
SCULLY: What do you mean?
MULDER: I'm in a boxcar buried inside a quarry. There are bodies everywhere.
SCULLY: Bodies?
MULDER: Stacked floor to ceiling.
(The bodies are small and withered, with gaping mouths and huge eye sockets.)
SCULLY: What happened to them?
MULDER: I don't know.
SCULLY: Mulder, in these files I found references to experiments that were conducted here in the US by Axis-power scientists who were given amnesty after the war.
MULDER: What kind of experiments?
SCULLY: Some kind of tests on humans. But they're referred to as "merchandise."
MULDER: But these aren't humans, Scully. From the look of it, I'd say they were alien.
SCULLY: Are you sure?
MULDER: I'm pretty damn sure. Wait a sec...
(Mulder looks at the arm of one of the bodies.)
MULDER: This one... has a smallpox vaccination scar.
SCULLY: Mulder...
MULDER: Oh my God, Scully. What have they done?
(The hatch slams shut, plunging Mulder into darkness. Eric, having closed it, stands as a helicopter approaches.)
SCULLY: Mulder? Mulder, what happened?
(The helicopter lands and Black Ops military rush out.)
SOLDIERS, OVERLAPPING: Move out! Get away from there, keep him back. Cover us, we're going in. Clear! Go!
CIGARETTE SMOKING MAN: What's your name, boy?
(Eric stares him down silently.)
SOLDIER 1 (emerging from the boxcar): He's not here.
CIGARETTE SMOKING MAN (to Eric): Where's Mulder?
CIGARETTE SMOKING MAN (to Soldier): He's here.
SOLDIER 1: No, sir. If he was, he's vanished without a trace.
CIGARETTE SMOKING MAN: Nothing vanishes without a trace. Burn it.
(Cancerman drags Eric to the helicopter along with the soldiers. An incendiary device is thrown into the boxcar. As the helicopter takes off, it explodes. Cancerman gazes off as smoke drifts upwards.)
(TO BE CONTINUED...)
This transcript was copied from insidethex.co.uk