Existence: the Operetta

by Bertina, Laura aka Mrs. Fish, amw, Julie M, Ganymede, Peach, Josan, arranged by Eavesdropper

Date: Saturday, July 14, 2001 7:02 PM

TITLE: Existence: the Operetta
LIBRETTO: Dr. Weesh at "Inside the X"
MUSICAL CONTRIBUTIONS: Bertina, Laura aka Mrs. Fish, amw, Julie M., Ganymede, Peach, Josan under the watchful eye of our artistic arranger, Eavesdropper.
SUMMARY: The true undercurrents of the Season 8 finale are, at long last, finally revealed.
RATING: PG
ARCHIVE: Please contact Jose at jmann@pobox.mondenet.com for the operetta in one piece. We would just like to know where this masterpiece is being "played".
COMMENTS: Members of Skinner/Krycek, please send any comment to the list. Others may send them to the above addy and I shall be more than pleased to forward them.
DISCLAIMER: The characters, "plotline", etc, are the possession of 1013 Productions, Chris Carter and the Fox Network. All muscial compositions are the property of their composers and we thank them for the loan. No money will ever be made from anything that follows. It is only our way of dealing with a situation that we found intolerable.
Believe it or not: continuity *is* important!
The Overture begins and the curtain slowly rises.


SCENE 1

***The theme from JAWS is heard in the background all through this
scene.


DISTRICT PATHOLOGY LAB
WASHINGTON, DC
4:05 AM

(DR. LANGENHAHN enters the morgue and turns on the lights. A faucet
nearby has a slow drip. He goes to the sink and washes his hands. The
doors open and the PATHOLOGIST'S ASSISTANT wheels in a cart with a large
flat metal box on it.)
PATHOLOGIST'S ASSISTANT: Dr. Langenhahn, here's the body.
DR. LANGENHAHN: They weren't kidding were they?
PATHOLOGIST'S ASSISTANT: They said they did about the best they could
considering it was all mashed in with that garbage.
(He lifts the heavy box on to the examination table.)
DR. LANGENHAHN: How mashed up is it?

***I was working in the lab late one night
When my eyes beheld an eerie sight
My monster from his slab began to rise
And suddenly to my surprise

(he did the mash) He did the monster mash
(he did the mash) It was a graveyard smash
(he did the mash) It caught on in a flash
(he did the mash) He did the monster mash

From my laboratory in the castle east
To the master bedroom where the vampires feast
The ghouls all came from their humble abode
To get a jolt from my electrode

(they did the mash) They did the monster mash
(they did the mash) It was a graveyard smash
(they did the mash) It caught on in a flash
(they did the mash) They did the monster mash

The zombies were having fun, the party had just begun
The guests included Wolfman, Dracula and his son

The scene was rocking, all were digging the sound
Igor on chains backed by his baying hounds
The Coffin Bangers were about to arrive
With their vocal group The Cryptkicker Five

(they played the mash) They played the monster mash
(they played the mash) It was a graveyard smash
(they played the mash) It caught on in a flash
(they played the mash) They played the monster mash

Out from his coffin Drac's voice did ring
Seems he was troubled by just one thing
He opened the lid and shook his fist and said
"Whatever happened to my Transylvania Twist?"

(it's now the mash) It's now the monster mash
(it's now the mash) And it's a graveyard smash
(it's now the mash) It caught on in a flash
(it's now the mash) It's now the monster mash

Now everything's cool Drac's a part of the band
And my monster mash is the hit of the land
For you, the living, this mash was meant too
When you get to my door tell them Boris sent you

(then you can mash) Then you can monster mash
(then you can mash) And do my graveyard smash
(then you can mash) You'll catch on in a flash
(then you can mash) Then you can monster mash

(The Monster Mash)

PATHOLOGIST'S ASSISTANT: Basically, it's hamburger.
(DR. LANGENHAHN has put on latex gloves. He opens the box and is
revolted by what he sees inside.)
DR. LANGENHAHN: Ohh... Ugggh. And they want me to do what exactly?
PATHOLOGIST'S ASSISTANT: Your order was to establish and confirm real
fact of death.
(DR. LANGENHAHN glances at the contents of the box and gives an
exaggerated yawn.)

***(Weird science)
Plastic tubes and pots and pans
Bits and pieces and
Magic from the hand
We're makin'

(Weird science)
Things I've never seen before
Behind bolted doors
Talent and imagination

(Weird science)
Not what teacher said to do
Makin' dreams come true
Living tissue, warm flesh

(Weird science)
Plastic tubes and pots and pans
Bits and pieces (and)
Bits and pieces (and)

CHORUS
(Bits of) my creation--Is it real?
It's my creation--I do not know
No hesitation--No heart of gold
Just flesh and blood--I do not know

From my heart and from my hand
Why don't people understand
My intentions . . . . Oooh, weird . . . .
Weird science!!

(Weird science)
Magic and technology
Voodoo dolls and chants
Electricity
We're makin'

(Weird science)
Fantasy and microchips
Shooting from the hip
Something different
We're makin'

(Weird science)
Pictures from a magazine
Diagrams and charts
Mending broken hearts (and makin')

(Weird science)
Something like a recipe
Bits and pieces . . . .
Bits and pieces . . . .

(Weird Science by Oingo Boingo from the film Weird Science)

DR. LANGENHAHN: I'd say he's dead. How about you?
PATHOLOGIST'S ASSISTANT: Yes, sir.
DR. LANGENHAHN: Good. I'm going home. You fax me the paperwork by 9:00.
I'll sign it, everybody's happy.
(DR. LANGENHAHN notices something in the bloody mess of tissue.)
DR. LANGENHAHN: Ah, crying out loud. See this? They left some...
garbage... in with it.
(He gets a long pair of forceps and lifts up a metallic object and
examines it.)
PATHOLOGIST'S ASSISTANT: Looks kind of like a vertebra. Only metallic.
DR. LANGENHAHN: Note it on the report... and fax me.
 (DR. LANGENHAHN sets the metallic vertebra down on the table and
leaves. The PATHOLOGIST'S ASSISTANT closes the box, picks up his laptop
and turns out the light as he exits the room. All is still and quiet for
a moment, then the vertabra suddenly spins. When it stops, there is
another vertabra attached to it. It spins again. Four vertabra. Then
six. Then eight. It is replicating itself.)


SCENE 2

Background music to this entire scene playing on the radio

Georgia, Georgia,
The whole day through
Just an old sweet song
Keeps Georgia on my mind

I'm say Georgia
Georgia
A song of you
Comes as sweet and clear
As moonlight through the pines

Other arms reach out to me
Other eyes smile tenderly
Still in peaceful dreams I see
The road leads back to you

I said Georgia,
Ooh Georgia, no peace I find
Just an old sweet song
Keeps Georgia on my mind

Other arms reach out to me
Other eyes smile tenderly
Still in peaceful dreams I see
The road leads back to you

Georgia,
Georgia,
No peace, no peace I find
Just this old, sweet song
Keeps Georgia on my mind

I said just an old sweet song,
Keeps Georgia on my mind

(GEORGIA ON MY MIND Ray Charles)

(REYES' beige sedan driving along a rural road. DC License plate
42-BIEN. SCULLY wakes up in the passenger seat. For a moment she is
disoriented.)
SCULLY: Oh, god. I was hoping this was all a dream. When did the sun
come up?
REYES: About six hours ago. Somewhere back in North Carolina.
SCULLY: Where are we?
REYES: We just crossed into Georgia. Long way from home, Agent Scully.
SCULLY: Well under the circumstances...
(REYES glances at SCULLY's belly.)
REYES: Right. We can't be too safe.
(REYES looks very jittery.)
SCULLY: Are you all right, Agent Reyes?
REYES: I should ask how you're doing. I mean... You're the one who's
going to have this baby.
SCULLY: That's it, isn't it? What you're really worried about?
REYES: Aside from whatever danger we're in... Where we're going doesn't
sound like... there's all that much in the way of a … facility. You know
what I mean? I've never delivered a baby.
SCULLY: Well, I've never had one. That makes us both beginners.
(REYES gives her a nervous smile.)

SCENE 3

(SKINNER's office. MULDER is showing a grainy black and white picture of
BILLY MILES wearing what look like medical scrubs. Nice continuity,
Mulder still has the tape stitches that SCULLY put on him in the last
episode.)
MULDER: This is a video grab from the DC morgue. It's Billy Miles.
SKINNER: How can that be?
DOGGETT: It can't be. It's impossible.

***3 is a magic number, yes it is, it's a magic number
Somewhere in that ancient mystic trinity
You get 3 as a magic number
The past, and the present, and the future
Faith, and hope, and charity
The heart, and the brain, and the body
Will give you 3, that's a magic number

It takes three legs to make a tripod or
To make a table stand
It takes three wheels to make a vehicle
Called a tricycle
And every triangle has three corners
Every triangle has three sides
No more, no less, you don't have to guess
Now this three, can you see? It's a magic number

(3 is a magic number: Blind Melon)

MULDER: Yeah. It can't be, but it is. Walking out of the morgue looking
like a new man.
DOGGETT: His body was taken to the morgue in a little box, for god's
sake.
(KRYCEK is sitting on the leather couch against the wall.)
KRYCEK: Like I told you. You can't stop him.

If only you believe like I believe, baby
We'd get by
If only you believe in miracles, baby
So would I
If only you believe like I believe, baby
We'd get by
If only you believe in miracles, baby
So would I.

I might have to move heaven and earth to prove it to
you, baby
So we're makin' love and you feel the power
And I feel the power
Then there's really nothing that we can't do
If we wanted to, baby
We could exist on the stars
It'd be so easy
All we gotta do
Is get a little faith in you
Oh, I've been (to) so many places
I've seen some things
I know, love is the answer
Keeps holding this world together
Ain't nothing better
Ain't nothing better
And all the answers to our prayers
Hell , it's the same everywheres, baby
Nothing ever breaks up the heart
Only tears give you away
Then you're right where I found ya
With my arms around ya
Oh baby, baby, baby, love is a magic word, yeah
Few ever find in a lifetime
But from that very first look in your eyes
I knew you and I had but one heart
Only our bodies were apart
That was so easy, so easy
I had a taste of the real world
When I went down on you, girl.

If only you believe like I believe, baby
We'd get by
If only you believe in miracles, baby
So would I
If only you believe like I believe, baby
We'd get by
If only you believe in miracles, baby
So would I.

I can hear windmills and rainbows
Whenever you're talkin' to me
I feel like swirling and dancin'
Whenever you're walking with me
You ripple like a river when I touch you
When I pluck your body like a string
When I start dancin' inside ya
Oh baby, you make me wanna sing
Yeah, baby, baby, baby, baby
Oh yeah, all right
Baby, we're sure doin' it tonight
Everytime you come by, let me try
Pretty, please sugar on it
That's how I like it
I can't even believe it, with you
It's like having every dream I ever wanted
Come true
I picked up your vibes
You know it opened my eyes
But I'm still dreamin' yeah
And you're right where I found ya
With my arms around ya.

( Miracles: Jefferson Starship/Airplane)


 
(SKINNER gets up from his desk and crosses threateningly toward KRYCEK.)
SKINNER: Yeah, you know, you keep saying that, Krycek. So why don't you
explain it to us because I'm having a little bit of a hard time
understanding it myself. Billy Miles was scraped out of the back of a
garbage truck. I saw him go in, I saw him come out.
(SKINNER tosses the picture into KRYCEK's lap. KRYCEK glances at it
casually.)
KRYCEK: Well, I don't know if I can explain it in any technical sense,
but... that's Billy Miles, without a doubt.
(KRYCEK hands the picture back to SKINNER.)
SKINNER: (angry) You're sitting there for one reason, Krycek. Because
you can explain it.
KRYCEK: I told you-- he's a human replacement. Some new kind of alien …
(DOGGETT looks up.)
KRYCEK: …. created to aid in the repopulation of the planet.
MULDER: Which Scully is a threat to.
KRYCEK: If she has that baby.
DOGGETT: Well, I don't care who he is or what you think he's made of
there's no way he's going to find her. No way.
KRYCEK: Well, maybe he's not but there are others out there just like
him. And it's only a matter of time before they will.
(There is a knock at the door, and AGENT CRANE enters.)
AGENT CRANE: Agent Doggett? See you a moment?
(DOGGETT glances at the other men in the room then joins AGENT CRANE in
the hallway. He sighs when he recognizes the man waiting in the office
across the hall.)
AGENT CRANE: There's someone here to see you. His name is Knowle Rohrer.
He says you know each other and what he's here for can't wait.

SCENE 4

(Night. REYES and SCULLY arrive at a deserted and dilapidated resort
area. Rather depressing. REYES turns off the headlights of the car, but
the area is still well lit from the night sky above. Both women get out
of the car. SCULLY, her hands on her lower back, looks around as REYES
gets some supplies out of the back seat.)
REYES: End of the road.

***(Talking)
Girl you know we belong together
I don't have time for you to be playing with my heart like this
You'll be mine forever baby
You just wait

(singing)
We belong together
And you know that I am right
Why do you play with my heart
Why do you play with my mind

Said we'd be forever
Said it'd never die
How could you love me and leave me and never
Say goodbye

When I can't sleep at night
Without holding you tight
Girl, each time I try I just break down and cry
Pain in my head
Oh, I'd rather be dead
Spinning around and around

(chorus 2x)
Although we've come
To the end of the road
Still I can't let go
It's unnatural
You belong to me
I belong to you

Girl, I know you really love me
You just don't realize
You've never been there before
It's only
Your first time

Maybe I'll forgive you
Maybe you'll try
We should be happy together forever
You and I

Will you love me again
Like you loved me before
This time I want you to love me much more
This time instead
Just come to my bed
And baby just don't let me go

chorus

(talking, except things in parentheses)

Girl, I'm here for you
All those time as night
When you just hurt me
And just ran out with that other fella
Baby I knew about it
I just didn't care
You just don't understand how much I love
Do you?
I'm here for you

I'm not about to go out on cheat you
(Maybe I'll forgive you)
Just like you did
But baby that's alright
I love you anyway
(Maybe you will try)
And I'm still going to be here with you until my dying day
(We should be happy together forever)
Right now
I'm just in so much pain
Cuz you just won't come back to me
(You and I)
Will you?
Just come back

(Lonely)
Yes baby, my heart is lonely
(Lonely)
My heart hurts
(Lonely)
Yes, I feel pain too
Baby please

(back to singing)

This time instead just come to my bed
And baby just don't let me go

(End Of The Road: Boyz II Men)

SCULLY: Yeah. Literally. Anybody finds us out here, it really will be a
miracle. Where exactly are we?
REYES: Democrat Hot Springs. According to Agent Doggett this is where
people used to come for the waters-- until the springs dried up and they
quit coming. He was born here.
SCULLY: Really? Well that's... comforting. I guess. (She doesn't sound
comforted.) So, where do you want to set up?
(REYES confidently leads them to one of the buildings.)
REYES: Over here.
SCULLY: Any particular reason?
REYES: I think I told you, I feel these energies about people and stuff
and places. I found it works best to go with my instincts.
(They enter one of the abandoned buildings. On the window of the
building are painted the words, "Water from the rock, Exodus 7:16."
REYES' flashlight shows a thick layer of dust covering everything,
including the old iron daybed in the middle of the room.)

***I'll light the fire
You place the flowers in the vase that you bought today.
Staring at the fire for hours and hours
While I listen to you play your love songs all night long for me,
Only for me.

Come to me now
And rest your head for just five minutes
Everything is done
Such a cozy room
The windows are illuminated by the evening sunshine through them
Fiery gems for you.
Only for you.

Our house is a very very very fine house
With two cats in the yard
Life used to be so hard
Now everything is easy, 'cause of you
I'll light the fire
While you place the flowers in the vase that you bought today.

(OUR HOUSE: Crosby, Stills, Nash & Young)

SCULLY: I'm getting a feeling myself.

(Dana sings softly to herself)

*** Ohhhhh
Super freak, super freak
That girl's a super freak
Ohhhhh

(Super Freak: Rick James)

(Her tone indicates that the feeling is that "This place sucks." SCULLY
crosses to a cobweb-covered sink. She turns the handle. Nothing
happens.)
SCULLY: Well, there's no water from this rock. We're going to need some
water and a place to boil it. Along with sterile supplies and a clean
place to do this delivery.
(Again, REYES looks very nervous. She smiles weakly at SCULLY.)
REYES: I'm a little stiff from the drive.
(REYES hands SCULLY the flashlight. SCULLY sighs and begins looking
around the filthy room.)
SCULLY: Okay.
(REYES goes outside again to smoke. She looks up and sees a stationary
bright light in the sky. It could be a very bright star.

***Star of wonder, star of night
Star with royal beauty bright
Westward leading, still proceeding
Guide us with your wondrous light.

(We three kings, chorus: Christmas carol)

She looks at it a moment, takes another drag, then stubs out the
cigarette with her foot and heads slowly back into the building.)

SCENE 5

(X-Files office. DOGGETT is talking to KNOWLE ROHRER.)
DOGGETT: It's not like you, Knowle coming to see me when you make me
work so hard to see you.
KNOWLE ROHRER: This couldn't wait, John. It's about this thing you're
pursuing.
DOGGETT: This thing?
KNOWLE ROHRER: This man you're after. I think you know what I'm talking
about.
DOGGETT: I think I'm confused, Knowle-- if it's a man or if it's a
thing.
KNOWLE ROHRER: It's military, John. It goes all the way to the top. I
can't overstate the sensitivity.

***Super Trouper lights are gonna find me
Shining like the sun
(Sup-p-per Troup-p-per)
Smiling, having fun
(Sup-p-per Troup-p-per)
Feeling like a number one
Tonight the
Super Trouper beams are gonna blind me
But I won't feel blue
(Sup-p-per Troup-p-per)
Like I always do
(Sup-p-per Troup-p-per)
'Cause somewhere in the crowd there's you
So I'll be there when you arrive
The sight of you will prove to me I'm still alive
And when you take me in your arms
And hold me tight
I know it's gonna mean so much tonight

(ABBA)

 Let me say there was a rumored program out of the cold war. A plan to
create a super-soldier.
DOGGETT: Well, this kid I'm talking about was pretty damn super. Got
right up out of a gutbucket and hit the ground running. Kid wasn't
exactly what I'd call military material. In fact, they say he was an
alien abductee.
KNOWLE ROHRER: You got it half right, John.
DOGGETT: Which half?
KNOWLE ROHRER: What you're chasing is a prototype.
DOGGETT: Uh-huh. And this so-called prototype... what is he after?
KNOWLE ROHRER: Oh, I think you know that, too, John. He's after your
partner, Scully. You may not be aware that she was part of a program
herself. Six years ago, Agent Scully was taken in a military operation
staged as an abduction. They put a chip in the back of her neck to
monitor her. It was also used to make her pregnant with the first
organic version of that same super-soldier.
(DOGGETT gives a short nervous laugh.)
DOGGETT: What do you want from me?
KNOWLE ROHRER: Help us catch him so we can put him down before he finds
her.
DOGGETT: You assume I know where she is.
KNOWLE ROHRER: Who does? Your superior?
(DOGGETT doesn't answer.)
KNOWLE ROHRER: Whoever knows, his life's in danger, too. I want you to
know.

***See the moon slink down in the sky, darling.
Let your fantasies fly, darling.
Life is cold and the game is old.
Just see how virtue repays you.
You turn and someone betrays you.
Betray him first and the game's reversed!

For we are all caught in the middle
of one lone treacherous riddle!
Can I trust you? Should you trust me, too?
We shamble on through this hell,
taking on more secrets to sell
till there comes a day when we sell our souls away!

Through the mist, your lover is beckoning...
Comes that moment of reckoning,
faces change! Even smiles grow strange.
And we all have so many faces,
the real self often erases.
Enticing lies flicker through our eyes!

Feel the terror draw even nearer,
the more you stare in the mirror,
but hold your own!
Face the wind alone.
Reel on, love! Toughen your scars!
Year by year, we're falling like stars
til there comes a day
when we sell our souls away.

Can I run to you?
Are you true to me?
I'll do unto you
as you do unto me!
And we slowly learn
someone has to burn!
Better you than me!

Oh, ev'ry Judas once loved a Jesus!
But finally, treason will seize us!
And only fools
follow golden rules!
We are all caught in the middle
of one long, treacherous riddle
of who trusts who...
Maybe I'll trust you!
But can you trust me?

Wait and see!

(The Riddle from the original Broadway cast recording of The Scarlet
Pimpernel)

SCENE 6

(5th Floor of the FBI building. MULDER has left SKINNER's office and is
waiting at the elevator. He looks up at the panel. The car appears to be
held up on the 4th floor. MULDER sighs and takes the stairs. Just as the
door closes behind him, the elevator doors open and BILLY MILES comes
out and walks purposefully down the hall.)
(Inside SKINNER's office, KRYCEK looks up, then stands. SKINNER is
behind his desk looking through a file.)
SKINNER: Sit down, Krycek.
(KRYCEK drops something, a soda can?, in the trash can and looks out the
open single door. He then turns and leaves the office by the double
doors.)
SKINNER: Hey! What'd I tell you?! Hey!
(The single door opens and BILLY MILES enters and stares at SKINNER.
SKINNER sensibly runs out the double doors after KRYCEK. KRYCEK has
entered the elevator. SKINNER is running down the hall followed by BILLY
MILES.)

It's close to midnight and something evil's lurking
in the dark
Under the moonlight you see a sight that almost stops
your heart
You try to scream but terror takes the sound before
you make it
You start to freeze as horror looks you right between
the eyes,
You're paralyzed

'Cause this is thriller, thriller night
And no one's gonna save you from the beast about to
strike
You know it's thriller, thriller night
You're fighting for your life inside a killer,
thriller tonight

You hear the door slam and realize there's nowhere
left to run
You feel the cold hand and wonder if you'll ever see
the sun
You close your eyes and hope that this is just
imagination
But all the while you hear the creature creepin' up
behind
You're out of time

'Cause this is thriller, thriller night
There ain't no second chance against the thing with
forty eyes
You know it's thriller, thriller night
You're fighting for your life inside a killer,
thriller tonight

Night creatures call
And the dead start to walk in their masquerade
There's no escapin' the jaws of the alien this time
(they're open wide)
This is the end of your life

They're out to get you, there's demons closing in on
every side
They will possess you unless you change the number on
your dial
Now is the time for you and I to cuddle close
together
All thru the night I'll save you from the terrors on
the screen,
I'll make you see

That it's a thriller, thriller night
'Cause I can thrill you more than any ghost would
dare to try
Girl, this is thriller, thriller night
So let me hold you tight and share a killer, diller,
chiller,
Thriller here tonight

(Rap performed by Vincent Price)
Darkness falls across the land
The midnite hour is close at hand
Creatures crawl in search of blood
To terrorize y'awl's neighborhood
And whosoever shall be found
Without the soul for getting down
Must stand and face the hounds of hell
And rot inside a corpse's shell
The foulest stench is in the air
The funk of forty thousand years
And grizzly ghouls from every tomb
Are closing in to seal your doom
And though you fight to stay alive
Your body starts to shiver
For no mere mortal can resist
The evil of the thriller
(Into maniacal laugh, in deep echo)

(Thriller, Michael Jackson)

SKINNER: Krycek! Krycek! Hold the door!
(KRYCEK presses a button and calmly allows the doors to close.)
SKINNER: Hold the door, Krycek! Krycek!
(At the last possible second, SKINNER gets his hand in the door and
manages to wedge himself inside. The doors close. SKINNER glares at
KRYCEK. The elevator begins to move down, but screeches to a halt as
BILLY MILES' hand crashes through the door, striking SKINNER on the
head. KRYCEK looks on nervously as the hand is dragged back out of the
elevator by its downward motion. SKINNER is lying on the floor of the
elevator, a bloody gash on his forehead.)

*** Bang! Bang! Maxwell's
  silver hammer
  came down upon her
  head
  Clang! Clang! Maxwell's
  silver hammer
  made sure that he was
  dead
  Silver hammer man

(Maxwell's Silver Hammer: The Beatles)

SCENE 7

(SKINNER's hospital room. MULDER is looking with concern at SKINNER who
is sleeping in a pink? hospital gown.. There is a bandage on the gash in
his head. Clock reads about 10:40.

***I'm in the mood for love
Simply because you're near me
Funny, but when you're near me
(I'm in the mood for love)

Heaven is in your eyes
Bright as the stars we're under
Oh, is it any wonder?
(I'm in the mood for love)

(Why stop to think of whether)
(This little dream might fade?)
(Let's put our hearts together)
Now we are one, I'm not afraid

If there's a cloud above
If it should rain, we'll let it
But, for tonight, forget it
(I'm in the mood for love)

(Why stop to think of whether)
(This little dream might fade?)
(Let's put our hearts together)
Now we are one, I'm not afraid

If there's a cloud above
If it should rain, we'll let it
But, for tonight, forget it
I'm in the mood
Hope you're in the mood
For love

(I'm in the Mood for Love: The Four Aces)

 DOGGETT looks in the room.)

***Strange dear, but true dear,
When I'm close to you, dear,
The stars fill the sky,
So in love with you am I.
Even without you,
My arms fold about you,
You know, darling, why,
So in love with you am I.
In love with the night mysterious,
The night when you first were there,
In love with my joy delirious
When I knew that you could care.
So taunt me and hurt me,
Deceive me, desert me.
I'm yours 'til I die,
So in love, so in love,
So in love with you, my love am I.

(So in love: Cole Porter)

DOGGETT: Mulder.
(MULDER pats SKINNER gently on the shoulder

Somewhere in a lonely hotel room
there's a guy starting to realize
That eternal fate has turned its back on him
And it's two a.m.

It's two a.m. the fear has gone
I'm sitting here waitin' the gun still warm
Maybe my connection is tired of taken chances
Yeah there's a storm on the loose sirens in my head
I'm wrapped up in silence all circuits are dead
I cannot decode my whole life spins into a frenzy

Help I'm steppin' into the twilight zone
The place is a madhouse
Feels like being cloned
My beacon's been moved under moon and star
Where am I to go
Now that I've gone too far

Help I'm steppin' into the twilight zone
The place is a madhouse
Feels like being cloned
My beacon's been moved under moon and star
Where am I to go
Now that I've gone too far

You will come to know
When the bullet hits the bone
Soon you will come to know
When the bullet hits the bone

I'm falling down a spiral destination unknown
A double crossed Messenger all alone
I can't get no connection I can't get through
Where are you

Well the night weighs heavy on his guilty mind
This far from the borderline
And when the hitman comes
He knows damn well he has been cheated

Help I'm steppin' into the twilight zone
The place is a madhouse
Feels like being cloned
My beacon's been moved under moon and star
Where am I to go
Now that I've gone too far

Help I'm steppin' into the twilight zone
The place is a madhouse
Feels like being cloned
My beacon's been moved under moon and star
Where am I to go
Now that I've gone too far

Soon you will come to know
When the bullet hits the bone
Soon you will come to know
When the bullet hits the bone

(TWILIGHT ZONE by Golden Earring)

and joins DOGGETT in the hallway.)
MULDER: You heard about this, right?
DOGGETT: How is he?
MULDER: He's got a concussion. They're going to keep him here for
observation. Where were you when this all happened?
DOGGETT: In my office, talking to somebody who warned me this might
happen.
MULDER: Who?
(DOGGETT sighs.)
MULDER: Skinner could've been killed. He's lucky he wasn't.
DOGGETT: He's an old friend. He tells me stuff I'm not supposed to know.
I didn't want to believe it.
MULDER: What exactly did he tell you?
DOGGETT: He said that Billy Miles isn't what you think he is. He's a
product of a government program looking to build a super soldier. He
said Agent Scully's a part of that program, too; that her pregnancy was
triggered by a chip they put in her neck.
(This really pisses MULDER off.)
MULDER: I want to know who the hell you've been talking to-
(A nearby NURSE looks up at the sound of MULDER's raised voice.
Irritated, MULDER leads DOGGETT farther down the hall and lowers his
voice.)
MULDER: .--- who this trusted source of yours is who's been spinning
this fantasy.
DOGGETT: His name's Knowle Rohrer. He's deep inside US Intelligence. I
don't know much more than that.
MULDER: Did he ever lie to you? Give you bad information, false leads?
(DOGGETT pauses and avoids MULDER's eyes.)
MULDER: (incredulously) Well, you have to think about it?
DOGGETT: He says Scully's in danger. He wants to stop this guy. How's
that so different than what we're saying?
MULDER: You didn't tell him where she is, did you?
DOGGETT: No, but I'm beginning to think that the fact that I know is
going to catch up with me if AD Skinner's any indication.
MULDER: (emphatically) You don't tell anybody where she is. That's the
deal, right? Not even me.
DOGGETT: What if something happens to me?
(MULDER's turn to sigh.)
MULDER: This, uh, trusted source of yours told you he knows how to stop
Billy Miles. Did he happen to tell you how he plans to do this?
DOGGETT: No.
MULDER: Right. Well, what do you say you and me go find out how
trustworthy he really is?


SCENE 8

(Democrat Hot Springs. Day, SCULLY is standing outside near the car,
beige trench coat, hands on her lower back. REYES calls to her from the
doorway of the building.)
REYES: Dana... Come see what you think.
(SCULLY waddles into the building. She gasps in surprise.)
SCULLY: Oh, my goodness. Look at this. Look at you. Wow.
(The transformation is indeed incredible. The hardwood floor gleams it
is so clean. Everything has been thoroughly cleaned. Sunlight streams
through the windows. SCULLY lowers herself onto the iron daybed which
now is covered in a set of sheets. Another clean set of sheets sits on
the edge. Unlit candles are strategically placed around the room.)
REYES: (proudly) I found them folded up in a cabinet upstairs. And a
nice porcelain basin and a whole box of candles.
SCULLY: Do we have matches?
REYES: (embarrassed smile) I've got a lighter.
SCULLY: Yeah.
REYES: Now all we need is some mood music. Like whale song.
SCULLY: Whale song?
REYES: Yeah, they've got these recordings of whales talking to each
other, calling back and forth.
(SCULLY stares at her as REYES closes her eyes and makes some very
bizarre whale moans.)

***Farewell to Tarwathie
Adieu Mormond Hill
And the dear land of Crimmond
I bid you farewell
I'm bound off for Greenland
And ready to sail
In hopes to find riches
In hunting the whale

Farewell to my comrades
For a while we must part
And likewise the dear lass
Who first won my heart
The cold coast of Greenland
My love will not chill
And the longer my absence
More loving she'll feel

Our ship is well rigged
And she's ready to sail
The crew they are anxious
To follow the whale
Where the icebergs do float
And the stormy winds blow
Where the land and the ocean
Is covered with snow

The cold coast of Greenland
Is barren and bare
No see time nor harvest
Is ever known there
And the birds here sing sweetly
In mountain and dale
But there's no bird in Greenland
To sing to the whale

There is no habitation
For a man to live there
And the king of that country
Is the fierce Greenland bear
And there'll be no temptation
To tarry long there
With our ship under full
We will homeward repair

Farewell to Tarwathie
Adieu Mormond Hill
And the dear land of Crimmond
I bid you farewell
I'm bound off for Greenland
And ready to sail
In hopes to find riches
In hunting the whale

(Whales & Nightingales CD by Judy Collins. There are Humpback Whale
sounds in the background as Judy sings.)

REYES: I... I don't know. It's like... it's almost metaphysical.
(REYES notices SCULLY's skeptical gaze and smiles.)
REYES: You're looking at me like... I don't know, I probably sound like
a goof.
SCULLY: No, no, it's not that. Um, I was thinking that you reminded me
of someone that I was close to-- my sister.
REYES: You're not close to her still?
SCULLY: Uh, she was killed... about five years ago... in my home. (She
sighs, and catches her breath.) It was a terrible time.
(REYES gently rests her hand on SCULLY's shoulder.)

*** Now there was a time when they used to say
That behind every - "great man."
There had to be a - "great woman."
But in these times of change you know
That it's no longer true.
So we're comin' out of the kitchen
'Cause there's somethin' we forgot to say to you (we say)

Sisters are doin' it for themselves.
Standin' on their own two feet.
And ringin' on their own bells.
Sisters are doin' it for themselves.

Now this is a song to celebrate
The conscious liberation of the female state!
Mothers - daughters and their daughters too.
Woman to woman
We're singin' with you.
The "inferior sex" got a new exterior
We got doctors, lawyers, politicians too.
Everybody - take a look around.
Can you see - can you see - can you see
There's a woman right next to you.

Chorus repeats.

Now we ain't makin' stories
And we ain't layin' plans
'Cause a man still loves a woman
And a woman still loves a man
(Just a same though)

(Sisters Are Doin' It For Themselves: Eurythmics (Duet with Aretha
Franklin))

SCULLY: Oh, it's, uh... It's okay. Oh, thank you. Thank you for, um...
putting this together and... it's not what I planned but, um... it's
very nice.
(REYES smiles.

***There's a full moon out tonight
Andlove is movin' in the shadows
I got no place to run
And it's following me wverywhere that I go
There's something in the air
I can feel it everywhere
All the conditions are right
Someone could lose a heart tonight
Someone could lose a heart

With all this kissin' and huggin
And heavy breathin'
Fallin' under the spell of the
Love you're weavin'
It's gonna get crazy baby if you don't stop
Someone could lose a heart tonight
Someone could lose a heart

Lookin' in your eyes tonight
Don't you know you got me hypnotized
Didn't mean to fall in love
But who could leave this paradise
I can feel it when we touch
Oh, it's too much
All the conditions are right
Someone could lose a heart tonight
Someone could lose a heart

With all this kissin' and huggin'
And heavy breathin'
Fallin' under the spell of the
Love you're weavin'
It's gonna get crazy baby if you don't stop
Someone could lose a heart tonight
Someone could lose a heart

(SOMEONE COULD LOSE A HEART TONIGHT: Eddie Rabbit)

 All is okay. She looks up at movement outside through the stained glass
window of Moses getting water from a rock.)
SCULLY: What?
REYES: There's someone out there. Stay here.
(REYES pulls her gun from the holster at the small of her back and goes
outside.

***Dum, dum Dum Honey what have you done?
Dum, Dum, dum It's the sound of my gun
Dum dum dum honey what have you done
Dum dum dum it's the sound it's the sound
Nah, nah, nah, Nah, nah, nah,
Nah, nah, nah.....
Janie's got a gun, Janies got a gun
Her whole world's come undone, from looking straight at the sun
What did her daddy do? What did he put you through?

They said when Janie was arrested,
They found him underneath a train,
But man he had it coming, now that Janie's got a gun
She ain't never gonna be the same

Janie's got a gun. Janie's got a gun
Her dog day's just begun, Now everybody is on the run
Tell me now it's untrue, What did her daddy do?
He jacked a little bitty baby
The man has got to be insane
They say the spell that he was under, The lightning and the thunder
Knew that someone had to stop the rain

Run away, Run away from the pain, Yeah, yeah, Yeah, yeah
Run away, Run away from the pain, Yeah, yeah, Yeah Yeahyeah Yeah,
yeah
Run away, run away, run,run away.............................

Janie's got a gun, Janie's got a gun
Her dog day's just begun, Now everybody's on the run
What did her daddy do? It's Janie's last I.O.U
She had to take him down easy
And put a bullet in his brain
She said cos nobody believes me, The man was such a sleaze
He aint never gonna be the same

Run away, run away from the pain, Yeah yeah, yeah,yeah, yeah
Run away, run away,from the pain yeah, yeah, yeahyeah yeah, yeah
Run away, run away, run, run away...........................

Janie's got a gun, Janie's got a gun
Janie's got a gun, everybody's on the run.

(Janie's Got a Gun: Aerosmith)


She sees nothing. She walks down the dirt street, sees nothing, and
finally lowers her weapon. She turns back suddenly at the sound of a
vehicle approaching. A dirty green SUV whips around the corner and
drives quickly toward REYES who stands her ground, gun ready. At the
last second, the SUV stops. The windows are so dirty we can't see
inside.)
REYES: Get out of the car! I'm a Federal Agent!
(SCULLY is watching from the door of the building, but pulls back out of
sight as the door of the SUV opens. There is what looks like a Forest
Service emblem on the door. The uniformed GAME WARDEN, an
outdoorsy-looking woman in her 40's gets out, her hands up. She speaks
calmly and with authority. Very authentic Southern accent. CarriK
knows.)
GAME WARDEN: I don't care who you are. Let's start by putting that
weapon away. Just point it down now.
(REYES lowers the gun cautiously.)
REYES: I'm a Federal Agent.
GAME WARDEN: I heard you the first time. Just let me see some
identification.
(REYES and the GAME WARDEN enter the building.)
REYES: Dana?
(SCULLY enters the room slowly, holding up her badge.)
SCULLY: I'm sure that this looks untoward but my life is in danger. And
my baby's. There's a man who's pursuing us and it is very important that
he not find us here.
GAME WARDEN: We get hunters in here taking deer and game off-season.
I've heard every excuse in the book but this one's far too original. You
don't, uh, plan to have it here?
REYES: It's not as crazy as it sounds. I mean, I hope it's not. She's a
doctor; she can coach me.
GAME WARDEN: And what if something goes wrong? If you're a doctor you
know the risks. You're unprepared here.
SCULLY: This man... he's extremely dangerous.
(SCULLY and the GAME WARDEN look at each other a moment. The GAME WARDEN
nods.)
GAME WARDEN: I got a first aid kit in my truck. It's pretty basic but
better to have than not. I'll be back with some towels and proper
swaddling.
SCULLY: Thank you.
(SCULLY and REYES looks at each other as the GAME WARDEN leaves.)

SCENE 9

FBI PARKING GARAGE
2:56 AM
(DOGGETT parks his car and looks over at MULDER in the passenger seat.)

***Why must I meet you in a secret rendezvous?
Why must we steal away to steal a kiss or two?
Why must we wait to do the things we want to do?
Why, oh, why, oh, why, oh, why, oh why?

Wish we didn't have to meet secretly
Wish we didn't have to kiss secretly
Wish we didn't have to be afraid
To show the world that we're in love

Till we have the right to meet openly
Till we have the right to kiss openly
We'll just have to be content to be in love secretly

Why, oh, why, oh, why, oh, why, oh why?

Wish we didn't have to meet secretly
Wish we didn't have to kiss secretly
Wish we didn't have to be afraid
To show the world that we're in love

Till we have the right to meet openly
Till we have the right to kiss openly
We'll just have to be content to be in love secretly

(Secretly: Jimmie Rodgers)

MULDER: Hey. You know, how is it that this friend of yours is so
desperate for your help? And then when we want to reach him, all of a
sudden he's unreachable, nowhere to be found?
DOGGETT: I don't know, maybe he got wind. Maybe he got spooked. But I'm
beginning to think it doesn't make a damn bit of difference.
MULDER: You told me that he told you he knew how to stop Billy Miles.
Are you telling me now that you think he's a liar?
DOGGETT: He is or he isn't. What the hell difference does it really
make?
MULDER: It doesn't make any difference at all. Unless you want to
protect Scully and that baby.
DOGGETT: And then what? How long can you keep this up? How long until
the next Billy Miles rears his head? The next threat? The next phantom?
You ever stop to ask yourself?

***In a church,by the face,
He talks about the people going under.

Only child know...

A man decides after seventy years,
That what he goes there for, is to unlock the door.
While those around him criticize and sleep...
And through a fractal on a breaking wall,
I see you my friend, and touch your face again.
Miracles will happen as we trip.

But we're never gonna survive, unless...
We get a little crazy
No we're never gonna survive, unless...
We are a little...

Crazy...crazy...crazy...

           ...Crazy yellow people walking through my head.
One of them's got a gun, to shoot the other one.
And yet together they were friends at school
Ohh, get it, get it, get it, get it no no!

If all were there when we first took the pill,
Then maybe, then maybe, then maybe, then maybe...
Miracles will happen as we speak.

But we're never gonna survive unless...
We get a little crazy.
No we're never gonna survive unless...
We are a little...
Crazy...
No no, never survive, unless we get a little... bit...

Oh, a little bit...
Oh, a little bit...

Oh...
Oh...

Amanda decides to go along after seventeen years...

Oh darlin...
In a sky full of people, only some want to fly,
Isn't that crazy?
In a world full of people, only some want to fly,
Isn't that crazy?
Crazy...
In a heaven of people there's only some want to fly,
Ain't that crazy?
Oh babe... Oh darlin...
In a world full of people there's only some want to fly,
Isn't that crazy?
Isn't that crazy... Isn't that crazy... Isn't that crazy...

Ohh...
But we're never gonna survive unless, we get a little crazy.. crazy..
No we're never gonna to survive unless we are a little... crazy..
But we're never gonna survive unless, we get a little crazy.. crazy..
No we're never gonna to survive unless, we are a little.. crazy..
No no, never survive unless, we get a little bit...

And then you see things
The size
Of which you've never known before

They'll break it

Someday...

Only child know....

Them things
The size
Of which you've never known before

Someday...
Someway...
Someday...
Someway...
Someday...
Someway...
Someday...

(Crazy: Seal)

(MULDER listens and is uncomfortable.)
DOGGETT: All the sacrifice, the blood spilled-- you've given nearly a
decade of your life. Where the hell is it all going to end?
(MULDER thinks for a moment.)
MULDER: (softly) I don't know. Maybe it doesn't.
(MULDER looks over as another car whips through the garage. He closes
his door then leans down out of sight.)
MULDER: Start the car.
DOGGETT: What?
MULDER: Alex Krycek just pulled in.
(DOGGETT starts the engine and follows KRYCEK's car to an upper level.
KRYCEK parks. There is someone else in the car. DOGGETT stops the car
close enough to see, but not be conspicuous.)
DOGGETT: What the hell is he doing here? How did he get security
clearance?
MULDER: You recognize his passenger?
(DOGGETT does recognize the passenger.)
DOGGETT: Yeah. It's Knowle Rohrer.

***Let's dance put on your red shoes and dance the blues
Let's dance to the song they're playin' on the radio

Let's sway while colour lights up your face
Let's sway sway through the crowd to an empty space

             If you say run, I'll run with you
             If you say hide, we'll hide
             Because my love for you
             Would break my heart in two
             If you should fall
             Into my arms
             And tremble like a flower

Let's dance for fear your grace should fall
Let's dance for fear tonight is all

Let's sway you could look into my eyes
Let's sway under the moonlight, this serious moonlight

             If you say run, I'll run with you
             If you say hide, we'll hide
             Because my love for you
             Would break my heart in two
             If you should fall
             Into my arms
             And tremble like a flower

Let's dance put on your red shoes and dance the blues
Let's dance to the song they're playin' on the radio

Let's sway you could look into my eyes
Let's sway under the moonlight, this serious moonlight.

(Let's Dance: David Bowie)

SCENE 10
 
(Night. Democrat Hot Springs. SCULLY is sitting next to a table with a
few fat candles burning. She is blotting her face with a damp cloth.
REYES brings over a bucket of water and pours it into the porcelain
basin.)
SCULLY: Thank you. Thank you.
(REYES looks down at SCULLY affectionately.)

***Blue night and you, alone with me
My heart has never known such ecstasy
Am I on earth, am I in heaven?

Can it be the trees that fill the breeze with rare and magic perfume?
Oh, no, it isn't the trees, it's love in bloom
Can it be the spring that seems to bring the stars right into this
room?
Oh, no, it isn't the spring, it's love in bloom

  My heart was a desert
  You planted a seed
  And this is the flower
  This hour of sweet fulfillment

Is it all a dream, the joy supreme that came to us in the gloom?
You know it isn't a dream, it's love in bloom

  My heart was a desert
  But you planted a seed
  And this is the flower
  This hour of sweet fulfillment

Is it all a dream, the joy supreme that came to us in the gloom?
You know it isn't a dream, it's love in bloom

( Love in Bloom: words and music by Leo Robin and Ralph Rainger)
-

REYES: I have to say with everything I know you must be feeling you look
amazingly beautiful, Dana.

***You are so beautiful
To me
You are so beautiful
To me
Can't you see

You're everything I hope for
You're everything I need
You are so beautiful to me
You are so beautiful to me

You are so beautiful
To me
Can't you see
You're everything I hope for
You're every, everything I need
You are so beautiful to me

(You are so beautiful : Joe Cocker)

(SCULLY doesn't know how to respond.)
SCULLY: And what about what you're feeling? Any vibrations, Agent Reyes?

*** Tell me -- Are you pickin' up good vibrations
It's giving me some excitations
Are you pickin'up good vibrations?

(Good Vibrations - Wilson/Love)


REYES: I don't know.
(REYES reaches down and puts on her jacket.)
SCULLY: What?
REYES: I don't know if I'm just being paranoid... (sighs) …but something
feels off.
(SCULLY looks at her curiously.)
REYES: We need some more water.
(REYES goes outside with the bucket. She looks up and sees the same
bright light in the sky in the exact same place as from the night
before.

***Star of wonder, star of night
Star with royal beauty bright
Westward leading, still proceeding
Guide us with your wondrous light.

(We three kings, chorus: Christmas carol)

She gazes at it for a moment in confusion, then goes to the
old-fashioned pump nearby and begins filling the bucket. We see movement
behind her. As she looks up, BILLY MILES grabs her and flings her
against the side of a barn.
She picks up a handy pitchfork and holds it nervously

***I am woman, hear me roar
In numbers too big to ignore
And I know too much to go back an' pretend
'cause I've heard it all before
And I've been down there on the floor
No one's ever gonna keep me down again

CHORUS
Oh yes I am wise
But it's wisdom born of pain
Yes, I've paid the price
But look how much I gained
If I have to, I can do anything
I am strong (strong)
I am invincible (invincible)
I am woman

You can bend but never break me
'cause it only serves to make me
More determined to achieve my final goal
And I come back even stronger
Not a novice any longer
'cause you've deepened the conviction in my soul

CHORUS

I am woman watch me grow
See me standing toe to toe
As I spread my lovin' arms across the land
But I'm still an embryo
With a long long way to go
Until I make my brother understand

Oh yes I am wise
But it's wisdom born of pain
Yes, I've paid the price
But look how much I gained
If I have to I can face anything
I am strong (strong)
I am invincible (invincible)
I am woman
Oh, I am woman
I am invincible
I am strong

  FADE
I am woman
I am invincible
I am strong
I am woman

(I am Woman: Helen Reddy)

 as BILLY MILES approaches her.

***Ahh, ha
I'm almost human, can't help feelin' strange
The moon is out, I think I'm gonna change

You're so smooth and tender, a living, breathing dream
I've got to have you, baby, I'm listenin' for your
scream

I'm almost human, I'm almost a man
I'm almost human, ooh

I'm almost human, baby please don't run away
'Cause wherever you run I'll be your scrape-away

I'm very hungry and you're what I'm thinkin' of
Ooh baby, baby, baby, so hungry for your love

I'm almost human, oh, almost a man
I'm almost human, whoo

I'm very hungry and you're what I'm thinkin' of
Ooh baby, baby, baby, so hungry for your love

I'm almost human, I'm almost a man
I'm almost human, I'm almost human
I'm almost human, I'm almost human
I'm almost human, almost, almost, almost a man
I'm almost human
Almost, almost, almost, almost, almost, almost human
I'm almost human, I'm almost human
I'm almost human, almost a man
I'm almost human, almost, almost, almost
I'm almost human

(Almost Human: KISS)

Suddenly, there is a loud gun blast. BILLY MILES is thrown to the
ground, a large bloody hole in his torso. He doesn't move. The GAME
WARDEN comes around the side of the building, a large shotgun still
trained on BILLY MILES. REYES breathes heavily.)
(REYES and the GAME WARDEN are dragging BILLY MILES' body down the dark
dirt street. SCULLY comes out of the building to meet them.)

 
***Sisters are doin' it for themselves.
Standin' on their own two feet.
And ringin' on their own bells.
Sisters are doin' it for themselves.

(Reprise)

REYES: Go back inside, Dana.
(They drop BILLY MILES and the GAME WARDEN runs to her truck.)
SCULLY: Who is it?
(SCULLY looks down and sees who it is.)
REYES: Dana, it's okay. He's dead.
(SCULLY is upset.)
SCULLY: No, it's not okay. What do you mean?
REYES: Exactly what I said. Now go on inside. We'll take care of this.
SCULLY: They said that he couldn't be stopped!

***I'm talking, I'm talking
I believe in the power of love
I'm singing, I'm singing
I believe that you can rescue me

With you I'm not a little girl
With you I'm not a man
When all the hurt inside of me
Comes out, you understand
You see that I'm ferocious
You see that I am weak
You see that I am silly
And pretensious and a freak
But I don't feel too strange for you
Don't know exactly what you do
I think when love is pure you try
To understand the reasons why
And I prefer this mystery
It cancels out my misery
And gives me hope that there could be
A person that loves me

Rescue me
Your love has given me hope
Rescue me I'm drowning
Baby throw out your rope

With you I'm not a fascist
Can't play you like a toy
And when I need to dominate
You're not my little boy
You see that I am hungry
For a life of understanding
And you forgive my angry little heart
When she's demanding
You bring me to my knees
While I'm scratching out the eyes
Of a world I want to conquer
And deliver and despise
And right while I am standing there
I suddenly begin to care
And understand that there could be
A person that loves me

Rescue me
Your love has given me hope
Rescue me I'm drowning
Baby throw out your rope

Love is understanding
- It's hard to believe
Life can be so demanding
I'm sending out an S.O.S.
Stop me from drowning
Baby I'll do the rest

Rescue me
Your love has given me hope
Rescue me I'm drowning
Baby throw out your rope

Ooh ahh love is understanding
Ooh ahh love is understanding

Love is understanding
- It's hard to believe
Life can be so demanding
I'm sending out an S.O.S.
Rescue me, rescue me

It's not my business to decide
How good you are for me
How valuable you are
And what the world can see
Only that you try to understand me
And have the courage
To love me for me

I believe in the power

I believe that you can rescue me

(Rescue me: Madonna)

REYES: Dana, he's got no vitals. He's lost too much blood.
(SCULLY looks down at the body again. REYES notices BILLY MILES neck and
folds back the collar, exposing the lumps. The GAME WARDEN has brought
her truck around.)
GAME WARDEN: Is this the man you're afraid of? How did he find you out
here? I do have to report this thing.
SCULLY: No, you can't do that.

***I have a tale to tell
Sometimes it gets so hard to hide it well
I was not ready for the fall
Too blind to see the writing on the wall

Chorus:

A man can tell a thousand lies
I've learned my lesson well
Hope I live to tell
The secret I have learned, 'till then
It will burn inside of me

I know where beauty lives
I've seen it once, I know the warm she gives
The light that you could never see
It shines inside, you can't take that from me

(chorus)

2nd Chorus:

The truth is never far behind
You kept it hidden well
If I live to tell
The secret I knew then
Will I ever have the chance again

If I ran away, I'd never have the strength
To go very far
How would they hear the beating of my heart
Will it grow cold
The secret that I hide, will I grow old
How will they hear
When will they learn
How will they know

(Live to Tell: Madonna)

GAME WARDEN: I don't have any real choice.
(SCULLY is looking inward.)
SCULLY: No, I mean, I, um... I just felt a contraction.
(The GAME WARDEN looks back at REYES who looks very nervous.)

SCENE 11

(FBI parking garage. DOGGETT and MULDER are still watching KRYCEK's car.
They see movement.)
DOGGETT: Something's happening.
(KNOWLE ROHRER gets out of the car and heads for the elevators.)
DOGGETT: Where's he going?
MULDER: Not to see you, that's for sure.
DOGGETT: Who the hell's he going to see?
(DOGGETT gets out of the car and turns back to MULDER.)
MULDER: You go ahead. I got Krycek.

***Midnight, gettin' uptight. Where are you?
You said you'd meet me, now it's quarter to two
I know I'm hangin' but I'm still wantin' you.

Hey, Jack, It's a fact they're talkin' in town.
I turn my back and you're messin' around.
I'm not really jealous, don't like lookin' like a clown.

I think of you ev'ry night and day.
You took my heart, then you took my pride away.

I hate myself for loving you .
Can't break free from the the things that you do.
I wanna walk but I run back to you, that's why
I hate myself for loving you .

Daylight, spent the night without you.
But I've been dreamin' 'bout the lovin' you do.
I won't be as angry 'bout the hell you put me through.

Hey, man, bet you can treat me right.
You just don't know what you was missin' last night.
I wanna see your face and say forget it just from spite.

I hate myself for loving you .
Can't break free from the the things that you do.
I wanna walk but I run back to you, that's why
I hate myself for loving you.

I hate myself for loving you.
Can't break free from the things that you do.
I wanna walk but I run back to you, that's why
I hate myself for loving you .

I think of you ev'ry night and day.
You took my heart, then you took my pride away.

I hate myself for loving you .
Can't break free from the the things that you do.
I wanna walk but I run back to you, that's why
I hate myself for loving you .
I hate myself for loving you .
I hate myself for loving you .
.
(I Hate Myself For Loving You: Joan Jett)

(DOGGETT runs up the stairs. He stops at the third floor and looks
briefly out into the hall. Sees nothing. He runs up to the fourth floor
and enters the hall. Nothing. He hears the elevator ding. KNOWLE ROHRER
exits the elevator, and as DOGGETT watches from around a corner, he
enters KERSH's outer office and knocks. AGENT CRANE joins him from
inside KERSH's office. What sounds like KERSH's voice is coming out of
the office. KNOWLE ROHRER and AGENT CRANE listen, then heads back to the
elevator. After they are out of sight,

***I can feel it coming in the air tonight, Oh Lord
I've been waiting for this moment, all my life, Oh Lord
Can you feel it coming in the air tonight, Oh Lord, Oh Lord

Well, it you told me you were drowning
I would not lend a hand
I've seen your face before my friend
But I don't know if you know who I am
Well, I was there and I saw what you did
I saw it with my own two eyes
So you can wipe off the grin, I know where you've been
It's all been a pack of lies

CHORUS

And I can feel it coming in the air tonight, Oh Lord
I've been waiting for this moment for all my life, Oh Lord
I can feel it in the air tonight, Oh Lord, Oh Lord
And I've been waiting for this moment all my life, Oh Lord, Oh Lord

Well I remember, I remember don't worry
How could I ever forget, it's the first time, the last time we ever
met
But I know the reason why you keep your silence up, no you don't fool
me
The hurt doesn't show; but the pain still grows
It's no stranger to you or me

(In The Air Tonight: Phil Collins)

DOGGETT runs to SKINNER's fifth floor office and picks up the
ASSISTANT's phone and starts to dial.)
SKINNER: Agent Doggett?
(DOGGETT turns, hangs up, startled to see SKINNER.)
DOGGETT: What are you doing here?
SKINNER: They let me out of the hospital tonight. What are you doing
here?
DOGGETT: I got Mulder down in the parking garage watching Alex Krycek.
(DOGGETT picks up a phone again and dials.)
SKINNER: What the hell is Krycek doing here?
(SKINNER really, REALLY doesn't like KRYCEK.)
DOGGETT: That's what I'm trying to figure out.

***Hello
Thanks for calling
Leave a message at the tone

Every time I try to call you
I get three rings a click and hiss
And then a voice is speaking
It indicates I made a mistake
I should have called earlier.
Now I find I'm calling
At times I know that you're not home
Your phone it always listens
And makes me feel I'm not alone

I know my behaviour is peculiar
I know it's an inanimate object
But is love only love when love's returned?
I'm in love with your fonemate
I'm in love with your machine
It's thrown me for a tape loop
Please don't be home
I'll leave a message at the tone.

(Fonemate: Throat Culture)

(MULDER, still in the car, watching KRYCEK answers his cell phone.)
MULDER: (on phone) Yeah?
DOGGETT: (on phone) He's here with Agent Crane.
MULDER: (on phone) Agent Crane? How the hell does he know Agent Crane?
DOGGETT: (on phone) That's a damn good question. He doesn't.
(SKINNER picks up the other extension and listens in.)
MULDER: (on phone) You been wondering who's getting these guys past
security, how Billy Miles is in the FBI? Agent Crane is in on this with
your friend, which means he's in on it with Krycek. They've been in on
it all along.
DOGGETT: (on phone) I don't understand. In on what?
MULDER: (on phone) Fooling us, Agent Doggett. Into chasing after Billy
Miles. Into believing that we could protect her.
DOGGETT: (on phone) Scully?
MULDER: (on phone) Yes, they know where she is.
DOGGETT: (on phone) No, no, no. Only I know where she is.
MULDER: (on phone) You and Agent Reyes. You called her from a phone
inside the FBI, didn't you?
SKINNER: (on phone) There's no way Crane can tap calls in here, Mulder.
He'd have to have access to the communications system.
DOGGETT: (on phone) Skinner's here with me.
MULDER: (on phone) Maybe this goes even higher. Listen to me, I've got
to get to Scully. You've got to tell me where she is, where you sent
her.
DOGGETT: (on phone) Look. We can nail these guys here, Mulder. We can
put an end to it.
MULDER: (on phone) No, you listen. You've got to get out of there.
You've got no guarantee these guys aren't alien replacements, too.
(DOGGETT sighs and rubs his temples.)
DOGGETT: (on phone) Northern Georgia.

*** Georgia, Georgia
No Peace, No Peace I find.
Just an old sweet song,
Keeps Georgia on my mind.

 A place called Democrat Hot Springs.
(MULDER looks over to KRYCEK's car. It is empty. Suddenly, the car
window shatters beside him. KRYCEK grabs MULDER's phone.)
DOGGETT: (on phone) Mulder!
(KRYCEK crushes MULDER's phone under his foot. There goes another one.
KRYCEK cocks the gun and holds it on MULDER. At least he won't have to
fill out a report on this one.)
KRYCEK: Get out of the car.
(MULDER resignedly climbs out the driver's side to avoid the shattered
glass.)
KRYCEK: Doesn't seem fair now. Doesn't seem right. Coming down to this.
MULDER: What do you know about fair or right, Krycek? You're a coward.
(MULDER slowly walks around the car to face KRYCEK.)
KRYCEK: I could've killed you so many times, Mulder. You've got to know
that. I'm the one that kept you alive. (his voice cracks a little)
Praying you'd win somehow.
MULDER: Then there really is no God.
KRYCEK: You think I'm bad.
 
****I'm Bad, I'm Bad-
Come On
(Bad Bad-Really, Really Bad)
You Know I'm Bad, I'm Bad-
You Know It
(Bad Bad-Really, Really Bad)
You Know I'm Bad, I'm Bad-
Come On, You Know
(Bad Bad-Really, Really Bad)
And The Whole World Has To
Answer Right Now
Just To Tell You Once Again,
Who's Bad . . .

(Michael Jackson)

 That I'm a killer. We wanted the same thing, brother. That's what you
don't understand.
MULDER: I wanted to stop them. All you wanted was to save your own ass.
KRYCEK: No. I tried to stop them. Tried to kill … Scully's baby to stop
them. It's too late.

***It's too late, baby.
Now it's too late.
'Though we really did try to make it
Something inside me has died
And I can't hide
and I just can't fake it

 The tragedy's that you-- you wouldn't let it go. That's why I have to
do this. 'Cause you know how deep it goes. Right into the FBI.
MULDER: You want to kill me, Alex, kill me. Like you killed my father.
Just don't insult me trying to make me understand.
(KRYCEK's finger slowly and reluctantly tightens on the trigger. His
face is contorted with indecision. MULDER is calm. He and MULDER stare
at each other.

*** i find it hard to imagine
this world without guns and wars
when we have our own private battles
our own bashing and slamming of doors
what makes us want to hurt each other
can you help me to understand
why does history repeat itself
and a man keep killing a man

(CHORUS)
if i believe like you believe
then i guess we can be one
but when it comes down to the crossfire babe
it's down to the will
down to the will of the gun

i get so tired by how late it's got
that i wonder if i'm awake or if i'm not
we've come this far but there's so far to go
we've learned so much but we still don't know
we used to care for each other
i remember we were good friends once
but now we barely talk to each other
we got nothing to say: and the deal is done

(CHORUS)

are we oblivious to the stains on the sheets
have we grown immune to the blood on the street
the colour of my flag ain't the colour of your skin
why must somebody lose so
somebody can win

if i believe like you believe
then i guess we can be one
but when it comes down to the crossfire babe
it's down to the will of the gun
if i believe like you believe
then i guess it comes down to religion
but when it comes down to the crossfire babe
it's down to the will
down to the will of the gun
ooooo...the will of the gun

(Will of the Gun by Tom Cochrane.)

A gun is fired. KRYCEK gasps in pain and falls, dropping his gun. There
is a bullet wound in his right arm. He looks up and sees SKINNER a few
yards away, gun in hand.

***Hold on
Hold on to yourself
for this is gonna hurt like hell.

Hold on
Hold on to yourself.
You know that only time can tell

what is it in me that refuses to believe
this isn't easier than the real thing.

My love
you know that you're my best friend.
You know that I'd do anything for you
and my love
let nothing come between us
my love for you is strong and true.

Am I in heaven here or
am I...
At the crossroads I am standing.

So now you're sleeping peaceful
I lie awake and pray
that you'll be strong tomorrow
and will see another day
and we will praise it
and love the light that brings a smile
across your face.

Oh god
if you're out there won't you hear me.
I know we're never talked before

and oh god
the man I love is leaving
won't you take him when he comes to your door.

Am I in heaven here or
am I in hell
at the crossroads I am standing.

So now you're sleeping peaceful
I lie awake and pray
that you'll be strong tomorrow
and we will see another day
and we will praise it
and love the light that brings a smile
across your face

Hold on
hold on to yourself
for this is gonna hurt like hell.

(Hold On by Sarah McLachlan.


 KRYCEK reaches down to pick up his gun and screams in pain and falls to
the ground again as SKINNER shoots him in the right arm again. His arm
is now useless. Weakly, KRYCEK uses his prosthetic left arm to push his
most definitely unregistered gun toward SKINNER.)
KRYCEK: It's going to take more bullets than you can... ever fire to win
this game. But one bullet... and I can give you a thousand lives.
(He looks up at MULDER.)
KRYCEK: Shoot Mulder.

 (SKINNER looks at MULDER. MULDER looks at SKINNER. SKINNER raises his
gun and fires.

*** (Alex begins to sing )
 
Bang bang you shot me down
Bang bang I hit the ground
Bang bang that awful sound
Bang bang my baby shot me down

KRYCEK, falls to the ground, a bullet hole between his eyes.
Without any regret, MULDER glances at SKINNER, then walks to the
driver's side of the car.)
MULDER: I'm going to go to the airport. I need that location from Agent
Doggett.
MULDER: Skinner, are you with me?
SKINNER: You just go. I'll get him.
(As MULDER starts the car and drives away, SKINNER glances down at
KRYCEK's dead body,

(Skinner sings)
 
*** And it seems to me you lived your life
Like a candle in the wind
Never knowing who to cling to
When the rain set in
And I would have liked to save you
But somehow never did
Your candle burned out long ago
Your legend never did

(Candle in the Wind --Elton John)

then slowly turns and walks away.)

SCENE 12
 
(Democrat Hot Springs. SCULLY is sitting on the daybed and groaning
heavily. The GAME WARDEN dampens a cloth and runs to kneel between
SCULLY's legs.)
GAME WARDEN: They're two minutes apart now. It's not going to be long.
(REYES holds up what looks like a gray t-shirt. Mulder's?)
REYES: How's this?
SCULLY: That's great.
(REYES looks down in horror at the GAME WARDEN's exposed neck. She has
the bumps.)
(CUT TO: Inside the FBI building. DOGGETT is looking around KERSH's
office? He goes out into the hall in time to see AGENT CRANE and KNOWLE
ROHRER come out of the elevator. DOGGETT holds his gun on them.)
DOGGETT: Right there! Both of you!

***Stop In The Name of Love
Before you break apart
Think it Over
Think it Over

(They begin walking toward him.)
DOGGETT: I'm prepared to use force!
(They keep coming. DOGGETT runs. This will not win him points on
AutumnT's Manly Man Meter. He runs down the stairs and meets up with
SKINNER who pulls him toward the parking deck.)
SKINNER: Come on! Agent Doggett... come on!

(Skinner sings )

****Come on down to my house
Come on down to my house
Bet your ass we'll have a real good time
Come on down to my house

Bring your baby sister
Bring your baby sister
It's ages since I kissed her
Come on down to my house

(CUT TO: Democrat Hot Springs. SCULLY is now wearing the gray t-shirt.
Nervously, REYES sets a bucket of cold water next to a bucket of boiling
water on a table and hands the GAME WARDEN a glass of water dipped from
the cold bucket.)
REYES: Here you go.
(The GAME WARDEN hands the glass to SCULLY.)
SCULLY: Thank you.
(SCULLY, now wearing the gray t-shirt, takes a sip of water and hands
the glass back to the GAME WARDEN.)
SCULLY: Thank you.

***I can't fight this feeling any longer.
And yet I'm still afraid to let it flow.
What started out as friendship,
Has grown stronger.
I only wish I had the strength to let it show.

I tell myself that I can't hold out forever.
I said there is no reason for my fear.
Cause I feel so secure when we're together.
You give my life direction,
You make everything so clear.

And even as I wander,
I'm keeping you in sight.
You're a candle in the wind,
On a cold, dark winter's night.
And I'm getting closer than I ever thought I might.

And I can't fight this feeling anymore.
I've forgotten what I started fighting for.
It's time to bring this ship into the shore,
And throw away the oars, forever.

Cause I can't fight this feeling anymore.
I've forgotten what I started fighting for.
And if I have to crawl upon the floor,
Come crushing through your door,
Baby, I can't fight this feeling anymore.

My life has been such a whirlwind since I saw you.
I've been running round in circles in my mind.
And it always seems that I'm following you, girl,
Cause you take me to the places,
That I'd known I'd never find.

And even as I wander,
I'm keeping you in sight.
You're a candle in the wind,
On a cold, dark winter's night.
And I'm getting closer than I ever thought I might.

And I can't fight this feeling anymore.
I've forgotten what I started fighting for.
It's time to bring this ship into the shore,
And throw away the oars, forever.

Cause I can't fight this feeling anymore.
I've forgotten what I started fighting for.
And if I have to crawl upon the floor,
Come crushing through your door,
Baby, I can't fight this feeling anymore.

(Can't Fight This Feeling: REO Speedwagon)

(REYES picks up the bucket of boiling water and flings it into the GAME
WARDEN's face. The GAME WARDEN screams in agony. REYES pulls out her
gun.)
REYES: Move!
(SCULLY is very confused and very in labor.)
SCULLY: Agent Reyes... what?
(REYES cocks the shotgun gun, holding it on the GAME WARDEN who is in a
great deal of pain.)

***Please, baby can't you see my mind's a burnin' hell
I got razors a rippin' and tearin' and strippin'
My heart apart as well
Tonight you told me that you ache for something new
And some other woman is lookin' like something
That might be good for you

1-Go on and hold her till the screaming is gone
  Go on believe her when she tells you
  Nothing's wrong

  But I'm the only one who'll walk across
  The fire for you
  I'm the only one who'll drown in my
  Desire for you

  It's only fear that makes you run
  The demons that you're hiding from
  When all your promises are gone
  I'm the only one

Please, baby, can't you see, I'm trying to explain
I've been here before, and I'm locking the door
And i'm not going back again
Her eyes and arms and skin won't make it go away
You'll wake up tomorrow, and wrestle the sorrow
That holds you down today

(I'm The Only One: Melissa Etheridge)

REYES: Move out of here!
(Screaming, GAME WARDEN crawls outside, followed by REYES.)
SCULLY: What's happening?
(The GAME WARDEN is kneeling on the porch. Her face is badly blistered
from the heat of the water, but her voice is strong.)
REYES: Who are you?!

(Game Warden sings)
***I can wash out forty-four pairs of socks
And have them hangin out on the line
I can starch and iron two dozen shirts
Before you can count from one to nine
I can scoop up a great big dipper
Full of lard from the drippin's can
Throw it in the skillet, go out and do my
Shopping and be back before it melts in the pan
'Cause I'm a woman
Double U O M A N
I'll say it again

I can rub and scrub till this old house
Is shinin like a dime
Feed the baby, grease the car and
Powder my face at the same time
Get all dressed up, go out and swing
Till four a.m. and then
Lay down at five, jump up at six
And start all over again
'Cause I'm a woman
Double U O M A N
I'll say it again

If you come to me sickly, you know
I'm gonna make you well
If you come to me hexed up,
You know I'm gonna break the spell
If you come to me hungry,
You know I'm gonna fill you full o' grits
If it's lovin' you're lackin, I'll kiss you
And give you the shiverin fits
'Cause I'm a woman
Double U O M A N
I'll say it again

I can stretch a greenback dollar bill
From here to kingdom come
I can play the numbers, pay my bills
And still end up with some
I got a twenty dollar gold piece says
There ain't nothin I can't do
I can make a dress out of a feed bag
And I can make a man out of you
'Cause I'm a woman
Double U O M A N
I'll say it again
'Cause I'm a woman
Double U O M A N
And that's all

(I'M A WOMAN: Maria Muldaur)

(Cars and trucks begin arriving around the building.)

*** (Sound track for any FORD truck/SUV commercial)

GAME WARDEN: This baby will be born.
(REYES lowers the shotgun in shock as she watches BILLY MILES stand up
from where he had been lying dead in the street. "People" begin getting
out of the cars and walking toward the building. From inside the
building SCULLY screams.)
SCULLY: Agent Reyes!
(CUT TO: FBI parking garage. DOGGETT and SKINNER come running out of the
stairwell.)
SKINNER: The Blazer!
(DOGGETT and SKINNER get in the SUV. SKINNER starts the engine.)
SKINNER: Get Mulder on the phone!
(SKINNER pulls the SUV out of the parking space. AGENT CRANE and KNOWLE
ROHRER come out of the elevator and split up to pursue DOGGETT and
SKINNER. SKINNER guns the engine and runs into AGENT CRANE who shatters
the windshield as he is tossed over the top of the vehicle. They look
behind. Nothing. DOGGETT has just enough time to take a sigh of relief
before AGENT CRANE leans over from his perch on top of the moving
vehicle and shatters the passenger window.)
(CUT TO: Democrat Hot Springs. REYES comes back into the building and
kneels between SCULLY's legs. SCULLY is gasping and sweating.)
SCULLY: What's happening?! What?
(REYES is trying to be calm and comforting.)
REYES: It's okay, Dana.
SCULLY: What... What...
REYES: It's going to be okay.
(SCULLY looks up at the door as a group of people led by BILLY MILES
silently enter.)
SCULLY: (groaning in horror) No!

***So what would Brian Boitano do
If he were here today,
I'm sure he'd kick an ass or two,
That's what Brian Boitano'd do.

(What Would Brian Boitano Do? This is from the South Park - Bigger,
Longer & Uncut
movie soundtrack. It's sung by Stan Marsh, Kyle
Broflovski and Eric Cartman.)

(REYES grimaces sadly as she sees them enter. SCULLY gasps in agony and
terror. Another labor pain hits her)
(CUT TO: FBI parking garage. DOGGETT and AGENT crane are struggling as
SKINNER tries to maneuver the SUV down the ramp of the parking deck.
KNOWLE ROHRER is following them in his car.)
SKINNER: Get him off!
(DOGGETT gasps for breath as AGENT CRANE gets him around the neck.)
(CUT TO: Democrat Hot Springs. BILLY MILES and the other Replicants are
standing around SCULLY's bed as she is in the final stages of labor,
groaning in agony. REYES is concentrating only on SCULLY and the baby.
SCULLY is staring at the Replicants in fear.)
SCULLY: This is my baby!
REYES: You've got to push, Dana.
SCULLY: (begging pitifully) Please don't let them take it!
(CUT TO: FBI parking garage. KNOWLE ROHRER, his face grim, speeds
through the deck in a dark sedan.)
(CUT TO: Democrat Hot Springs. Labor intensifies.)
REYES: Come on, Dana. Push!

***(Reyes & Dana Duet)
Reyes -- No one said it would be easy
Dana -- But no one said it'd be this hard
Reyes -- No one said it would be easy
Dana No one thought I'd come this far

(NO ONE SAID IT WOULD BE EASY)

(SCULLY screams.)
(CUT TO: FBI parking garage. DOGGETT continues to struggle with AGENT
CRANE as SKINNER drives.)
(CUT TO: Democrat Hot Springs. SCULLY groans.)
SCULLY: Please don't let this happen.
REYES: Dana, push!
(SCULLY screams defiantly at BILLY MILES, the GAME WARDEN, and the other
Replicants.)
SCULLY: It's mine!

*** Give me something real
I just want to feel
Like it's
Mine, all mine
Oh really mine, all mine
Come on give me something
Something that's mine, all mine, all mine
Mine, all mine

(Mine, All Mine -- E Van Halen)

(CUT TO: FBI parking garage. DOGGETT still struggles with AGENT CRANE.)
SKINNER: Hold on!
(SKINNER steers the SUV close to a concrete support. AGENT CRANE is
knocked off. A moment later, KNOWLE ROHRER hits AGENT CRANE with his
car, sending him flying. Then, KNOWLE ROHRER crashes his car into the
wall. CAR explodes in a fiery inferno.

**** (Rohrer Sings )

I'm driving in my car, I turn on the radio
I'm pulling you close, you just say no
You say you don't like it, but man I know you're a liar
`Cause when we miss, Fire

Late at night I'm takin' you home
I say I wanna stay, you say you wanna be alone
You say you don't love me, man you can't hide your desire
`Cause when you hiss, Fire

Fire -- Bruce Springsten


 It doesn't look intentional.)

*** (Skinner and Doggett sing)

Another one bites the dust
Another one bites the dust
And another one gone, and another one gone
Another one bites the dust
Hey, I'm gonna get you too
Another one bites the dust

(Another One Bites the Dust: Queen)

*****
(CUT TO: Democrat Hot Springs. SCULLY is yelling desperately.)
REYES: Harder! Push, Dana!
(SCULLY is silent a moment, straining, whimpering. The Replicants are
watching.)
REYES: Keep breathing, Dana. Keep breathing.
SCULLY: (pleading) Please don't let them take it!
REYES: Push! Push. Push, Dana, push!
(SCULLY does, crying out in pain. A newborn baby's cry joins hers. REYES
is suddenly very busy between SCULLY's legs. Gasping both in relief and
fear, SCULLY grips the iron bed as she looks up at BILLY MILES and the
others who stand watching, silent and still. The baby cries in the
background.)
(CUT TO: Helicopter above Democrat Hot Springs. MULDER on headset gives
instructions to the pilot.)
MULDER: Down there. Get me down there.
(The helicopter lands and MULDER gets out. The Replicants are all
getting back into their cars and trucks and leaving.

*** (Sound track to yet another FORD truck/SUV commercial)

 MULDER runs between them trying to get someone to talk to him. They all
ignore him.)
MULDER: Hey! Scully! Scully! Where is she?! Scully! Where is she?!
(yelling) Scully! Where is she? Tell me where she is!

***As my life goes on I believe
Somehow something's changed
Something deep inside
Ooh a part of me

There's a strange new light in my eyes
Things I've never known
Changin' my life
Changin' me

I've been searchin'
So long
To find an answer
Now I know my life has meaning
Ow oh

Now I see myself as I am
Feeling very free
Life is everything
Ooh it's meant to be
When my tears have come to an end
I will understand
What I left behind
Part of me

I've been searching
So long
To find and answer
Now I know my life has meaning
Woah woah

Searching
Don't you know I'm hell yeah
For an answer
To the question
Oh yeah
For our minds
Baby
Baby it's true
It's only natural
It's only natural baby, yeah
Good things
In life
Take a long time
yeah yeah

((I've Been) Searchin' So Long: Chicago, (James Pankow))

(REYES come out of the building.)
REYES: Mulder!
(MULDER runs to REYES. The helicopter still hovers a few feet from the
ground.)
MULDER: How is she?
(REYES is exhausted.)
REYES: She's inside. She needs to get to the hospital.
(MULDER looks at her for a second with concern only for SCULLY, then
enters the building.)

(Reyes sings)

***Take a bow, the night is over
This masquerade is getting older
Light are low, the curtains down
There's no one here
[There's no one here, there's no one in the crowd]
Say your lines but do you feel them
Do you mean what you say when there's no one around [no one around]
Watching you, watching me, one lonely star
[One lonely star you don't know who you are]

Chorus:

I've always been in love with you [always with you]
I guess you've always known it's true [you know it's true]
You took my love for granted, why oh why
The show is over, say good-bye

Say good-bye [bye bye], say good-bye

Make them laugh, it comes so easy
When you get to the part
Where you're breaking my heart [breaking my heart]
Hide behind your smile, all the world loves a clown
[Just make 'em smile the whole world loves a clown]
Wish you well, I cannot stay
You deserve an award for the role that you played [role that you
played]
No more masquerade, you're one lonely star
[One lonely star and you don't know who you are]

(chorus, repeat)

Say good-bye [bye bye], say good-bye

All the world is a stage [world is a stage]
And everyone has their part [has their part]
But how was I to know which way the story'd go
How was I to know you'd break
[You'd break, you'd break, you'd break]
You'd break my heart

I've always been in love with you
[I've always been in love with you]
Guess you've always known
You took my love for granted, why oh why
The show is over, say good-bye

(chorus)

Say good-bye [bye bye], say good-bye
Say good-bye

(Take A Bow: Madonna)


SCENE 13

(KERSH's office. DOGGETT is sitting in front of the desk. KERSH is tense
and furious.)
KERSH: I'm to take this story seriously? These incidents at the FBI.
This account of Agent Scully's birth. I'm to submit this report as
quality investigative work? As representative of actual fact?
DOGGETT: I signed the report there, sir.
KERSH: Yeah, I see it, John. And I see her signature here, too. On an
X-File.
(We now see that REYES is sitting beside DOGGETT.)
KERSH: (sarcastically) I'd like to know when you assigned yourself,
Agent Reyes.
REYES: Agent Doggett assigned me, sir.
KERSH: Agent Doggett cannot just assume the authority of this office.
DOGGETT: I assume it because this office is under investigation. For the
late-night meeting between you, Agent Crane, and an intelligence
operative named Knowle Rohrer.
REYES: Both men were presumed dead but are now missing. In actual fact.
(KERSH looks rather nervous. DOGGETT opens the door for REYES.)
KERSH: You investigate what I tell you.

***I have a mansion but forget the price
Ain't never been there, they tell me its nice
I live in hotels, tear out the walls
I have accountants pay for it all

They say I'm crazy but I have a have a good time
I'm just looking for clues at the scene of the crime
Life's been good to me so far

My Maseratti does one-eighty-five
I lost my license, now I dont drive
I have a limo, ride in the back
I lock the doors in case I'm attacked

I'm making records, my fans they can't wait
They write me letters, tell me I'm great
So I got me an office, gold records on the wall
Just leave a message, maybe I'll call

Lucky I'm sane after all I've been through
I cant complain but sometimes I still do
Life's been good to me so far

I go to parties sometimes until four
It's hard to leave when you can't find the door
It's tough to handle this fortune and fame
Everybody's so different, I haven't changed

They say I'm lazy but it takes all my time
I keep on goin' guess I'll never know why
Life's been good to me so far

(LIFE'S BEEN GOOD: Joe Walsh)

DOGGETT: And you put me on the X-Files. That's what I'm investigating.
(DOGGETT closes the door behind him and REYES as they exit.)

***(KERSH sings)

I don't know how to love him
What to do, Why he moves me
He's a man
He's just a man
And I've had so many men before
In many different ways
He's just one more
Should I scream and shout
Should I speak of love
Let my feelings out?
I never thought it would come to this
What's it all about?
What's it all about?

(Jesus Christ Superstar)

SCENE 14

(MULDER uses his key to enter SCULLY's apartment. He looks around the
living room as he fingers the key thoughtfully. He walks toward the
bedroom and stands near the doorway. The LONE GUNMEN are there, looking
at something in the bedroom. They are all holding gifts.

*** We three kings of Orient are
Bearing gifts, we traverse afar,
Field and fountain, moor and mountain
Following yonder star.

(We three kings: Christmas Carol)

As one, they look up at MULDER. FROHIKE looks back into the room.)
FROHIKE: Get some rest.
[CLOSED CAPTIONING: SCULLY: Yeah.]
(The LONE GUNMEN join MULDER in the living room. Everyone is speaking
softly.)
FROHIKE: We didn't hear you come in.
LANGLY: We were just dropping off gifts.
BYERS: We just wanted to...
MULDER: See it with your own eyes.
FROHIKE: It's incredible, you know? You arriving in time to save Scully.
Getting her to a hospital.
BYERS: We still don't know how you did it. Speaking with Agent Doggett
he said they never reached you with specific coordinates.
(Pause. MULDER has a small smile.)
MULDER: There was a light. I followed it.

***Star of wonder, star of night
Star with royal beauty bright
Westward leading, still proceeding
Guide us with your wondrous light.

(We three kings, chorus: Christmas carol)

(The GUNMEN set their presents on a table.)
LANGLY: Guess we got our next headline.
(The GUNMEN leave. MULDER waits a moment, then enters the bedroom,
smiling. SCULLY is sitting on the edge of the bed against the headboard.
She is wearing white satin pajamas and a loose blue robe. She is holding
a small bundle of blankets.)

***Baby, baby
I'm taken with the notion
To love you with the sweetest of devotion.

Baby, baby
My tender love will flow from
The bluest sky to the deepest ocean.

Stop for a minute
Baby, I'm so glad you're mine, yeah
You're mine.

Baby, baby
The stars are shining for you
And just like me I'm sure that they adore you.

Baby, baby
Go walking through the forest
The birds above a' singing you a chorus.

Stop for a minute
Baby, they're so glad you're mine, oh yeah
And ever since the day you put my heart in motion
Baby I realize that there's just no getting over you.

Baby, baby
In any kind of weather
I'm here for you always and forever.

Baby, baby
No muscle man could sever
My love for you is true and it will never

Stop for a minute
Baby, they're so glad you're mine
And ever since the day you put my heart in motion
Baby I realize that there's just no getting over you.

And ever since the day you put my heart in motion
Baby I realize that there's just no getting over you.
Over you.

Baby, baby
Always and forever
Baby I'm so glad that
Here for you baby
So glad you're mine
Baby I'm so glad that
When I think about you it makes me smile
Baby, baby be mine
Baby I'm so glad that
Don't stop giving love
Don't stop, no
Baby I'm so glad that you're mine
Baby I'm so glad
Baby I'm so glad that
When I think about you it makes me smile.

(Baby, baby: Amy Grant)
 
MULDER: How's everybody doing?
SCULLY: We're doing just fine.

***Just Fine and Dandy
Lord it's like a hard Candy Christmas,
We're getting through tomorrow
And nobody ever gonna bring us down."

(From Best Little Whorehouse in Texas - Hard Candy Christmas)

(Smiling, SCULLY rises from the bed and carries the baby to MULDER He
gently pushes the blanket away from the baby's face.)
MULDER: Hey, now.
(The BABY begins fussing softly.)
MULDER: (with tender authority) None of that.

***Yeah, I'm down and out, but don't count me out
Listen here babe, gonna show you what it's all about
It's time for love, and you're welcome to it
It's a dirty job, but somebody's gotta do it
So here I am, do you want me now, just show me where, and I'll show you
how
I wanna know

Chorus:
No, no, no - don't say you won't if you will
No, no, no, no - don't say you've had your thrill
No, no, no - don't say you can't 'cause you can
No, no, no, no - baby don't say no, no, no

(No, No. No from the Doors)

(SCULLY smiles, looks up at MULDER and then gently transfers the baby to
MULDER's arms. MULDER is nervous but awed and delighted. The baby calms
in his arms. MULDER is beaming. He glances from the baby to SCULLY.)
MULDER: (breathlessly) Hi.
(He hums softly.

***Hello, I love you
Won't you tell me your name?
Hello, I love you
Let me jump in your game
Hello, I love you
Won't you tell me your name?
Hello, I love you
Let me jump in your game
 
(The Doors - Hello I love You)

 He looks up at SCULLY again.)
MULDER: What are you going to call him?
SCULLY: William.

***(bomp, bomp, bomp, bomp-bomp-bomp)
(bomp, bomp, bomp, bomp-bomp-bomp)
(bomp, bomp-bomp-bomp)

For when I walk (bomp, bomp-bomp-bomp-bomp)
I always walk with Billy
'cause Billy knows just where to walk (bomp, bomp-bomp-bomp-bomp)

And when I talk (bomp, bomp-bomp-bomp-bomp)
I always talk with Billy
'cause Billy knows just how to talk (bomp, bomp-bomp-bomp-bomp)

And when I dine (bomp, bomp-bomp-bomp-bomp)
I always dine with Billy
He takes me where I get my fill (bomp, bomp-bomp-bomp-bomp)

Want you to know, I love him so
I just wanna be with Bill
(bomp, bomp, bomp, bomp-bomp-bomp)
(bomp, bomp, bomp, bomp-bomp-bomp)
(bomp, bomp-bomp-bomp)

<mixture> mostly instrumental with two "doot-doodle-oot-doodle-oot" 's
thrown in

And when I dine (bomp, bomp-bomp-bomp-bomp)
I always dine with Billy
He takes me where I get my fill (bomp, bomp-bomp-bomp-bomp)

And when I sleep, and when I sleep
I always dream of Bill
(bomp, bomp, bomp, bomp-bomp-bomp)
(bomp, bomp, bomp, bomp-bomp-bomp)
(bomp, bomp-bomp-bomp)

(Billy: Kathy Linden)

(He looks at her.)
SCULLY: After your father.
(They gaze at each other for a long moment. She smiles warmly. He looks
back down at the baby.)
MULDER: Well, I don't know. He's... he's got your coloring and your
eyes. But he looks suspiciously like Assistant Director Skinner.
(MULDER and SCULLY laugh, then SCULLY frowns in confusion.)
SCULLY: I don't understand, Mulder-- they came to take him from us-- why
they didn't.
(SCULLY's theme begins playing.)
MULDER: I don't quite understand that either. Except that maybe he isn't
what they thought he was. That doesn't make him any less of a miracle
though, does it?

***It's a Miracle ,
A true Blue Technicolor Miracle Come True
And the Miracle is YOU.

(Barry Manalow)

SCULLY: From the moment I became pregnant, I feared the truth... about
how... and why. And I know that you feared it, too.
MULDER: I think what we feared were the possibilities. The truth we both
know.
SCULLY: Which is what?
(Still holding the BABY between them, MULDER leans down and kisses
SCULLY on the lips. And keeps kissing
her. SCULLY reaches out to hold MULDER's arms and returns the lover's
kiss. )

We're in this together now
None of them can stop us now
We will make it through somehow
You and me
If the world should break in two
Until the very end of me
Until the very end of you

(Nine Inch nails)

OR IF YOU PREFER

The Hallelujah Chorus breaks out sung by the Mormon Tabernacle Choir


But while the credits run, CC sings

***I started a joke, which started the whole world crying,
but I didn't see that the joke was on me, oh no.

I started to cry, which started the whole world laughing,
oh, if I'd only seen that the joke was on me.

I looked at the skies, running my hands over my eyes,
and I fell out of bed, hurting my head from things that I'd said.

Til I finally died, which started the whole world living,
oh, if I'd only seen that the joke was on me.

(I Started a Joke by the Bee Gees)


If you enjoyed this story, please send feedback to Bertina, Laura aka Mrs. Fish, amw, Julie M, Ganymede, Peach, Josan, arranged by Eavesdropper