THE FILES FADE IN: EXT. STREET - DAY A typically all-American, white-picket-fence neighbourhood; all angular set houses, neatly trimmed gardens, leafy trees hanging down. HAGERSTOWN, MARYLAND 3:43pm A young BOY (around eleven years old, tall, dark hair, innocent face) cycles down the sidewalk. He passes an elderly NEIGHBOUR mowing the lawn. BOY Hi, Mr. Silversteen! The old neighbour - MR. SILVERSTEEN - smiles and waves back at him, saying hello but it can’t be heard for the mower. The pleasant Boy, full of life, cycles on before turning into the driveway of a house holding a mailbox marked: ‘FRIEDMAN’. The garage is open and the Boy rides it inside, leaping off the top and jogging deeper into the house-- INT. FRIEDMAN RESIDENCE - CONTINUOUS --running immediately into a pair of TODDLERS, a BOY and GIRL, running around the house screaming and chasing each other. MRS. FRIEDMAN (O.C.) (shouts) Will you two be careful?! You’ll hurt yourselves! Moving past them, grinning, the Boy moves through the house - passing a picture of good old Jesus Christ on the wall. BOY Hey Mom. MRS. FRIEDMAN (O.C.) Hey honey, I’m in the kitchen. BOY Just going to the bathroom. MRS. FRIEDMAN (O.C.) Don’t be long, supper’s on the table. Racing up the stairs, the Boy hears his mother once again call the Toddlers - still running about, screaming. 2.

INT. UPSTAIRS LANDING - MOMENTS LATER The toilet flushes and the Boy emerges from the bathroom, after briefly drying his hands on a towel. He moves to the stairs--until he begins to hear a BABY crying from one of the upstairs bedrooms. He heads inside: INT. BABY’S ROOM - CONTINUOUS A little BABY BOY, a matter of months old, is crying inside a cot on the far wall of the room. The Boy approaches him as the baby INTERCOM crackles: MRS. FRIEDMAN (O.C.) Don’t cry baby, Mommy will be right up. Slowly, the Boy moves toward the cot, before his eyes become transfixed by a DIORAMA OF PLANETS hanging over the cot... CLOSE ON THE DIORAMA... CLOSE ON THE BOY... staring at it... CLOSE ON THE DIORAMA... as it suddenly begins to slowly creak, unnaturally rotating... CLOSE ON THE BOY... unnerved... is he doing this? MRS. FRIEDMAN (O.C.) (CONT’D) ? The boy - WILLIAM FRIEDMAN - jumps as he puts his hand to the diorama, stopping the movement quickly. He turns to see his mother, MRS. FRIEDMAN (late-thirties, homely), rushing in toward the crying baby. MRS. FRIEDMAN (CONT’D) Why didn’t you call me if you knew he was crying? William watches, spooked, as she picks up and comforts the baby. WILLIAM Sorry Mom, I thought you were... He looks back at the diorama - now silent, still, as it should be. A shake of the head from Mrs. Friedman as she taps the baby’s bottom, heading past William. 3.

MRS. FRIEDMAN Come on. Supper’s ready. ON WILLIAM as his mother moves on, taking one last look back at the diorama, before following her out. PUSH IN ON THE DIORAMA... still... BLACK OUT: 4.

FIGHT Resist by A J BLACK 5.

FADE IN: EXT. COUNTRY ROAD - DAY An old CAR drives through remote country roads, moving away from the vista of the Appalacians in the distance. WEST VIRGINIA 7:47am INT. CAR - CONTINUOUS The car bumps and rattles along as it drives, in control - saying nothing to perched in the seat next to him. The ‘nothing’ continues for a few moments, Spender reeling from something he’s been told. SPENDER You’re saying Control is gone. All of it? MULDER Given the FBI were tearing down the brickwork as I evaded their perimeter, I’m guessing as much. SPENDER What about Gibson? MULDER Most likely in custody. With all the rest of them. MALE VOICE (O.C.) No thanks to you... ON SPENDER, the only one hearing the familiar American purr coming from behind them. He looks back... seeing the CIGARETTE-SMOKING MAN sitting in the rear, in all his suited, wrinkled prime, inevitably puffing smoke into the air. CIGARETTE-SMOKING MAN If you hadn’t turned Gibson down when he asked you to be part of Control, you might have been there to help. Spender looks away, at Mulder - staring forward, not sharing the vision. 6.

CIGARETTE-SMOKING MAN (CONT’D) (takes a drag) But then you always were a coward, weren’t you Jeffrey? ON SPENDER as he shakes his head, looking back at Mulder. SPENDER I’m concerned about what you have in mind, Fox. (Mulder doesn’t turn) William has a foster family now, he won’t even remember his real parents. You just turn up on the doorstep unannounced-- Mulder reaches into the bag just behind him, pulling out who BADGES he throws onto Spender’s lap. Spender flips them open: both his and Mulder’s FBI ID. MULDER Knew they’d come in handy again someday. He continues driving as Spender looks at the badges, getting the idea - but he’s still worried. CUT TO: EXT. SCULLY RESIDENCE - DAY To establish - a crisp day shines down on the picturesque family . FALLS CHURCH, VIRGINIA 9:12am INT. KITCHEN - CONTINUOUS Pills drop from a small tub into the hand of , dropping two into a glass of water - where they begin to dissolve. WIDER Taking in MARGARET SCULLY, out of bed in her dressing gown, perching at the kitchen top. MARGARET I feel good today, Dana. No need for the meds. SCULLY There’s always need for your meds, Mom. 7.

Scully pops the tub of pills back onto the shelf and begins stirring the water. MARGARET But I’m awake today, you know these things make me drowsy. Finishing stirring, Scully hands the drink over to Margaret. SCULLY Drink up. Come on. With reluctance, Margaret begins to drink the pills back as Scully watches. SCULLY (CONT’D) Drowsiness is a worthy side-affect of helping to ease the chemo, take it from me. MARGARET (finishes drink) I know, Dana. (sighs) Sometimes I wish you hadn’t become such a good doctor. A little grin from Scully as they hear movement coming down the stairs... revealing CHARLES SCULLY as he enters. He’s suited up, briefcase in hand, grabbing a piece of TOAST that pops up from the toaster. CHARLES Morning everybody. SCULLY Not staying for breakfast, Charlie? CHARLES I’m sorry, I can’t. I just came back to change, another busy day of patients ahead. He approaches Margaret, putting his arm around her. CHARLES (CONT’D) You going to be ok, Mom? MARGARET (smiles) Of course. Dana’s here. Charles smiles at Scully, before giving his mother a kiss on the head - grabbing his briefcase. CHARLES I’ll call you later. Take care. 8.

MARGARET You too, honey. Taking a bite of his toast, Charles heads out-- INT. FOYER - CONTINUOUS He grabs his coat on the stand, draping it over his arm, and he unlocks the door-- SCULLY (O.C.) Charlie! Charles turns as Scully reaches him quickly. CHARLES Everything ok? SCULLY Yeah, I just... wanted to thank you for being with Mom. I know it’s helped her. And... well, you helped me. Your advice. CHARLES It’s like I said, Dana... it’s why I’m here. (smiles) Look I’m sorry, I gotta run. SCULLY Sure. Go. With a smile tinged by guilt, Charles hastily exits. ON SCULLY, not picking up on it though, who smiles a little before heading back toward the kitchen. PUSH IN on her JACKET hung up nearby, she oblivious to her cell phone BUZZING repeatedly inside-- CUT TO: INT. PHONE BOOTH - DAY --a call being made from a grimy booth by , facing the courtyard of a cheap motel. The phone rings: no answer. SCULLY (V.O.) Hi you’ve reached Dana Scully. I’m not here to-- Doggett hangs up, a little frustrated - ejecting his quarters from the phone and heading out. He moves across the courtyard toward the rooms at a jog. 9.

BOWIE, MARYLAND 9:17am INT. MOTEL ROOM - CONTINUOUS Pacing up and down the cheap motel room, RENEE LASSITER looks visibly shaken up - not even minding the peeling decor and antiquated furnishings. She jumps a little as Doggett enters quickly, sealing the door; moving to grab his things. RENEE Did she pick up? DOGGETT I got no answer, from neither Reyes or Scully. (nods) I gotta go down there myself. RENEE Don’t you... have to be back in New York? At your job? DOGGETT I can’t just go back. One of the supersoldiers who came after us, the one who tried to kill me, he was my partner. Hearing that disturbs Renee, watching Doggett zip up a bag. DOGGETT (CONT’D) More could be waiting for me back there. RENEE What about the woman? (off his look) I saw them take a woman who saw there, who saved you-- DOGGETT Her name is Shannon McMahon, Bravo Company MC. The last of them after me. (pauses) She’s a supersoldier too. ON RENEE, her eyes widening in surprise. DOGGETT (CONT’D) I believe she wants to help. Don’t ask me to explain it. (shakes his head) (MORE) 10. DOGGETT (CONT’D) For a long time I thought she was dead but now, without her help... I may be more at risk than ever. Lifting the bag, Doggett hoists it over his shoulder, making for the door. RENEE I can’t go with you, John. (off his look) I need to go back to Washington, start writing this up. Start exposing the truth, like Mulder wanted. Doggett, concerned, approaches her. DOGGETT Renee, this is bigger than a career best expose. Your life may be in danger now too. RENEE Mulder believed me telling the truth was the greatest weapon against these people. (nods) And now... I’m starting to believe. ON DOGGETT, who can see her logic but clearly isn’t all that happy about it. DOGGETT (sighs) Just keep your head down. Stay safe. Squeezing her arm affectionately, Doggett exits quickly. ON RENEE, left alone in the motel room, pondering her next move... CUT TO: EXT. FBI HEADQUARTERS - DAY To establish - the J. Edgar Hoover building. FBI HEADQUARTERS, WASHINGTON D.C., 11:22am INT. CORRIDOR - CONTINUOUS PING. Lift doors at of a corridor open, admitting - moving down the busy hub of the Bureau amidst other AGENTS. 11.

She stops outside the taskforce room, frowning and taking a breath, before she enters: INT. TASKFORCE ROOM - CONTINUOUS Pushing the door open to find the taskforce still fully operational - images of the Control compound all over the walls and desks, around the photofit of Mulder. ON REYES, not happy at the sight, quickly moving out the way she came. INT. SKINNER’S OFFICE - MOMENTS LATER KNOCK KNOCK. The chimes precede Reyes stalking in through the far door quite brazenly. Assistant Director sits at his desk, with Special Agent PEYTON RITTER across from him - numerous files spread out before them. SKINNER Agent Reyes? REYES I’m sorry to interrupt, Assistant Director. RITTER (turns) We’re in the middle of a debrief, Agent. REYES (ignoring him) Sir may I ask why the Control taskforce remains active. The compound has been shut down and its personnel taken into custody. She now stands at the desk beside Ritter, who remains seated. RITTER You know full well, Agent, that we still don’t know the specifics about Control’s motive and, crucially, Fox Mulder remains at large. Reyes is about to speak, when Skinner stands-- SKINNER Agent Ritter, would you excuse us for a moment? ON RITTER as he throws the file in his lap on the desk, glaring at Reyes, before he heads out. 12.

Once the door closes, Skinner moves around to Reyes. SKINNER (CONT’D) Leave this alone, Monica. REYES Exactly when did you become an apologist for these bastards? ON SKINNER, not quite sure how to reply to that... SKINNER (recovers) Until Mulder is in custody, that taskforce remains operational. I don’t have to justify that to you, or anyone else below my pay grade. (stern) And if you want to remain in the FBI, you’ll remember that. Reyes glares at him, a million things she wants to say... but instead she just stalks out, slamming the door. A deep sigh from Skinner, troubled at how that went down. CUT TO: EXT. FRIEDMAN RESIDENCE - DAY To establish - the neighbourhood at odds with the old mountain car parked slightly up the street. HAGERSTOWN, MARYLAND 12:01pm INT. CAR - CONTINUOUS Wriggling in the drivers seat, Mulder finishes putting on a smart black suit jacket - adjusting his tie in the windshield. He and Spender are both smartly dressed in suits now, looking every inch as FBI as they once did (bar Spender’s horrific facial scarring). It’s Spender who now eyeballs the Friedman home. SPENDER What is it you hope to achieve here? MULDER Finding my son. It’s that simple. 13.

SPENDER (shakes his head) What exactly do you think William can do, anyway? I told you I gave him an injection when he was a baby, to suppress his alien genes and allow him to lead a normal life. (looks at him) The life we never had, Fox. Mulder looks at him, frowning. MULDER What you did was take away William’s chance to help stop what’s coming. And for years you watched him to make sure that happened. A little chuckle emanates from the rear as Spender sees a waft of smoke emerge. He looks back, where the Smoking Man is grinning. CIGARETTE-SMOKING MAN The doting uncle. Spender closes his eyes, looking away again - watching Mulder check his FBI BADGE, pocket it and get out of the car. He does the same and exits in pursuit. EXT. DOORWAY - FRIEDMAN RESIDENCE - MOMENTS LATER KNOCK KNOCK. A moment... and then Mrs. Friedman opens the door with a smile. MRS. FRIEDMAN Yes? REVEAL Mulder, Spender next to him, as they extend their ID. ON MRS. FRIEDMAN, a little disturbed by Spender’s visage, her smile turned to concern. MULDER Good afternoon, Mrs. Friedman. My name is Fox Mulder with the Federal Bureau of Investigation, this is my partner Jeffrey... Scully. Spender glances at Mulder for a split second at the false name. Behind Mrs. Friedman appears MR. FRIEDMAN (early-forties, portly but kind). 14.

MULDER (CONT’D) May we come in? MR. FRIEDMAN What’s this about, Agents? MULDER (pockets ID) We just have a few questions about your son William, concerning an incident last year. The Friedman’s exchange a slightly worried glance. INT. LOUNGE - LATER The lounge is spacious, homely, around which Mulder now walks, taking everything in. Spender perches on a chair, directly listening to the Friedman’s across from him - Mr’s arm around Mrs’. MRS. FRIEDMAN It was just over a year ago. William had just turned ten. He was having a sleep-over with three other boys at his friend David Turcotte’s house, over on Main. (upset) It was a... horrible accident. She composes herself as Mr. Friedman holds her. SPENDER (gently) If you could just... tell us exactly what happened. MR. FRIEDMAN We don’t know precisely. There was a house fire, poor David didn’t make it out alive. The fire department said there were radiation burns when they found William inside, unconscious and somehow unscathed, with no memory of what happened. ON MULDER as he listens, picking up PHOTOS as he walks that show William growing up - a toddler, throwing his first baseball, going to junior high. MRS. FRIEDMAN (weepy) We had the police around back then, lots of doctors too. We thought we were done with this, thought we could move on with our lives. 15.

Spender feels their pain, obviously feeling guilty. SPENDER I assure you, this is just routine. For our records, Mrs. Friedman. Mulder grabs a photograph of the Friedman’s holding William as a baby. MULDER Are your children adopted, Mrs. Friedman? The Friedman’s exchange a glance as Spender looks toward him. MRS. FRIEDMAN William is. He’s about ten months in that photo. We never knew his real parents. MR. FRIEDMAN (awkward) Back then, we were... uncertain we could naturally conceive. (smiles) How wrong we were. Mrs. Friedman’s smiles at him, cheered by the thought. ON MULDER as he looks at the baby picture, affected... MULDER Is William... happy? The parents exchange a glance - that’s an odd question? SPENDER (quickly) Agent Mulder is asking if your son feels happier now some time has passed since the accident. MRS. FRIEDMAN (looks at Mr, nods) Yeah. He seems to be. He’s a bright boy. We’re very proud of him. Spender smiles at that, looking at Mulder - who nods. He replaces the photo and very quickly makes for the exit, saying nothing. The Friedman’s look confused as Spender stands, covering. SPENDER (extends hand) We appreciate your time, sir. Ma’am. 16.

EXT. FRIEDMAN RESIDENCE - MOMENTS LATER The Friedman’s way both men go from the doorway, Spender running to catch up Mulder down the path. SPENDER Mulder? What was that all about? MULDER Nothing. He keeps walking, both reaching the sidewalk as the Friedman’s shut their door. SPENDER Just let this go. Please. The boy is happy, Fox, you heard them. (jogs) We can find another way-- MULDER (rounds on him) There IS no other way! You know what Gibson told us: William is the key. He always was. Mulder strides on across the street, toward the car - Spender behind him. SPENDER Then what was the point of the show in there? As they reach the car, Mulder pulls from his pocket a piece of PAPER he slams in Spender’s hand. MULDER Information. He climbs into the drivers’ seat as Spender looks at the paper: It’s a LETTER, from William’s school about the boy, with the school address on it. ON SPENDER as he realises the plan, jumping into the passenger side. CUT TO: INT. OPEN-PLAN OFFICE - DAY Busy as ever, the open-plan office is snaked through by Renee, head down and looking a little dishevelled. THE WASHINGTON POST 12:36pm 17.

This time, quite a few curious eyes are on her. She reaches her DESK and sits in the swivel chair, seeing it covered in papers - messages - as she hits the voicemail on her phone. VOICEMAIL (V.O.) You have... thirty seven messages. She sighs at the number, moving to sort through the papers as her eyes rest on Carl Jonas’ office in the distance. ON THE OFFICE - sealed, various flowers and tributes around it scattered. ON RENEE as she looks deeply sad. FEMALE VOICE (O.C.) Renee, there you are. She turns to the sound, that of deputy editor ELEANOR WESTON (late-forties, demure, frosty), walking nearby. RENEE Eleanor. ELEANOR A word in my office, please. Eleanor walks on into her office as Renee, seeing plenty of eyes watching her, follows. INT. ELEANOR’S OFFICE - CONTINUOUS As Renee enters the cluttered but attractive office, Eleanor seals the door behind her and draws the blind from prying eyes. ELEANOR You want to tell me where you’ve been these last thirty six hours? (looks at her) Doesn’t even look like you took a shower. RENEE Eleanor, I can explain-- Eleanor moves around to her desk, facing Renee. ELEANOR Save it, Renee. This building has been traumatized enough thanks to Carl’s death without you lying to me. (off her look) You know we’ve had Washington PD and the FBI here, don’t you? 18.

RENEE The FBI? For what reason? ELEANOR You. Now Renee really does look spooked. ELEANOR (CONT’D) They have it in their heads you were the last person Carl spoke to before he and his wife were murdered in their home. (shrugs) Is that true? ON RENEE, who struggles with an answer, and Eleanor just sighs in disrespect. ELEANOR (CONT’D) You’re going to drop whatever you were into, this broadcast thing, as of now. RENEE Eleanor, I can’t. There’s a story-- ELEANOR I’ll give you a story. Pulling a PAPER from the desk, she shoves it into Renee’s hand-- --on the front cover a report showing the FBI raid on Control, showing Gibson--labelled the ‘Broadcast Man’-- arrested. RENEE (concerned) When was this? ELEANOR Last night. ON RENEE, studying the article, increasingly disturbed. CUT TO: EXT. PRISON - DAY Armed GUARDS are patrolling the perimeter of a huge prison facility; high walls, barbed wire, guard towers. FBI MAXIMUM-SECURITY LOCKUP COLUMBUS, MISSOURI, 3:08pm 19.

INT. INTERROGATION ROOM - FBI LOCKUP PAN UP on a man sitting at a table, hands and feet cuffed together, wearing an orange boiler suit...... GIBSON PRAISE, sitting calmly, staring ahead. RITTER (O.C.) --tell me about weapons stockpiles? How many and where? We know you didn’t just put all your eggs in one basket. PUSH IN ON GIBSON as he says nothing, staring on... RITTER (O.C.) (CONT’D) Look boy, you’re going to want to start talking to me. INT. CORRIDOR - CONTINUOUS A long, gloomy corridor outside is traversed by Reyes, before she reaches the door to the interrogation room. She sees Ritter moving around the un-moving Gibson, a file folder in hand, looking at the captive. And then Gibson turns his head, looking at her dispassionately... sensing her. Ritter turns and looks as Reyes taps the glass, beckoning him. He glances at Gibson, still looking at Reyes, before he exits. RITTER Agent Reyes? What are you doing out here? REYES Thought you might use some help. Is he singing? RITTER (sighs) Right now I’m getting nothing, on Control or the whereabouts of Mulder. REYES No disrespect, Agent Ritter, but you don’t understand who this man is. What he is. RITTER Let me guess... it was all in the X- Files, right? A pause from Reyes, looking away, as Ritter shakes his head. 20.

REYES Just give me a few minutes with him, alone. I might be able to get something. (off his look) Skinner or Kersh never need know it didn’t come from you. Ritter glances at her, hearing that, as Reyes raises a conspiratorial eyebrow. RITTER (finally) Five minutes. I’ll be watching. A nod from Reyes, who steps inside and seals the door, leaving Ritter to watch through the glass. INT. INTERROGATION ROOM - CONTINUOUS The seat across from Gibson vacant, Reyes makes for it. REYES Hello Gibson. How you doing? She sits in the chair, clasping her hands on the table. ON GIBSON as he looks at her, stares... hearing whispers, snatches of conversation... REYES (CONT’D) Are you reading me? Gibson says nothing, but Reyes holds her ground - glancing at the suspicious, watching Ritter. REYES (CONT’D) Gibson look, I understand your position here. And I know you understand that right now I can’t help you, much as I might want to. (leans in) But I’m afraid that unless the FBI find Mulder, he’s going to give them an excuse to destroy him and his work for good. A long pause as Gibson stares at her... GIBSON You may think Mulder was protecting Control. But they were protecting him. (beat) It’s Mulder who’s important. What he’s doing. What he’s looking for. 21.

REYES I need you to tell me what that is. GIBSON (beat) He wouldn’t want me to say. REYES (sighs) If you don’t tell me, that man out there will find a way to force it out of you. GIBSON You said you couldn’t help me. But I need you to. (quieter) I need you to find a way to stop them finding Mulder. The door opens quickly before Reyes can say anything more, Ritter storming in. RITTER I think that’s all for today, folks. (to Gibson) So you do talk, Mr. Praise? Reyes stands, edging toward the door, as Gibson returns to neutral. RITTER (CONT’D) (in his face) Well you better start talking to me, unless you want to spend the rest of your life in this room. Got it? ON REYES as she sees Ritter look at her to leave, she heading out - torn on what to do for the best. CUT TO: INT. FOYER - SCULLY RESIDENCE - DAY KNOCK KNOCK. A moment... and then Scully appears, opening the door to a very elderly gentleman. SCULLY Father McCue. FATHER MCCUE (late-eighties, old and frail but still strong) smiles. FATHER MCCUE Dana, what a surprise! 22.

SCULLY Please come in. McCue steps through out of the cold, Scully closing the door before helping him with his jacket. FATHER MCCUE Oh, thank you. I came by to see Margaret, how is she today? SCULLY (hanging up his coat) Better than yesterday. That’s when I got here. FATHER MCCUE Yes it’s been quite some time since I saw you, or indeed at church. SCULLY (nods) I know, Father, and I’m sorry. Work has just... consumed me these past few years. FATHER MCCUE At the Catholic hospital. Yes the chaplain there is a friend. He smiles as he edges further into the house, approaching the lounge. ON SCULLY as she looks troubled, intercepting him-- SCULLY Father McCue, I-- McCue turns toward her, picking up on her struggle to speak. FATHER MCCUE I’m old enough these days, Dana, to sense a crisis of faith. Yours remains in what you believe, your loyalty to the man you love. SCULLY How would you-- FATHER MCCUE Charles telephoned. A little nod from Scully, who smiles a touch. SCULLY This crisis has... always been there. Since my days at the FBI. But now... I need my faith, Father, more than ever. (MORE) 23. SCULLY (CONT'D) (sighs) What’s about to happen is... She trails off, shaking her head, as McCue looks at her concerned. FATHER MCCUE What is about to happen, Dana? KNOCK KNOCK. The door distracts them. SCULLY (sighs) Excuse me. A nod from McCue, a little unnerved by her words, as he moves on into the house. Scully strides toward the door, opening it--to find Doggett standing on the other side. SCULLY (CONT’D) John?! DOGGETT Dana, I’m sorry I--I didn’t know where else to go. ON SCULLY, immediately concerned by his tone. INT. KITCHEN - MOMENTS LATER A door into the lounge shows McCue now sitting with Margaret, holding rosary beads, while peering with interest into the kitchen...... before Scully closes the door, blocking his view of Doggett as he stands awkwardly. SCULLY What’s going on? Is it Mulder? DOGGETT Kind of... the contact was Shannon McMahon. Remember her? (Scully nods) They got her. She saved my life. And then Renee, that journalist, called... Control was raided by the FBI last night, Gibson was taken. SCULLY (hand to mouth) Oh my God. 24.

DOGGETT I don’t know if they got Mulder. I’ve been trying to call Monica but I can’t reach her. SCULLY (shakes her head) What can I do? Doggett looks around, a touch paranoid even here-- DOGGETT Those supersoldiers were after anyone involved with, or who knew about Control. I’m on that list now, and so are you. (Scully looks worried) Shannon may be the only one who can protect us. We need her. And I need you to help me find her. SCULLY (sighs) Doggett... She begins pacing, concerned. SCULLY (CONT’D) I can’t just leave my mother, she’s... she’s sick. DOGGETT I know this is difficult, Dana. But if you want to protect her, this may be our best chance. (nods) And Mulder’s. ON SCULLY as she sees how certain Doggett looks about this. She grabs a PHONE on the kitchen top. SCULLY I need to make a call. CUT TO: INT. GOVERNMENT LAB SCREAMS resonate across the equipment-filled lab, screams of agony, until we rest on Charles - a cold expression on his face. CHARLES Tell us about Mulder. 25.

Ahead of him, a medical bed, under a spotlight, on which lies the bound SHANNON MCMAHON - surrounded by SCIENTISTS as needles and tubes are filtered into her. Charles controls a machine controlling the injections. CHARLES (CONT’D) Tell us what he knows about Purity Action. SHANNON I DON’T KNOW! I DON’T KNOW WHAT MULDER KNOWS!! She continues screaming, as Charles hears his cell phone placed nearby BUZZING. He looks at the readout: Scully. ON CHARLES as he looks conflicted... but ignores it. From the shadows near the bottom of the bed, the TOOTHPICK MAN appears. TOOTHPICK MAN Continue. Charles pushes the controls... and through the tubes and needles begin to filter distilled MAGNETITE. As it enters Shannon, her skin begins discoloring, fluctuating, and she SCREAMS IN AGONY. ON CHARLES as he presses on, coldly... CUT TO: EXT. HIGH SCHOOL - DAY The BELL echoes out through high school gates, STUDENTS racing out - some walking, some heading toward CARS parked on the street beyond. NORTH HAGERSTOWN HIGH SCHOOL 3:31pm Standing and leaning on their rickety car a few yards up from the gates, Mulder and Spender - still suited and booted - watch the exodus. CIGARETTE-SMOKING MAN (O.C.) How do you think this can possibly turn out? Spender looks to his right, seeing the Smoking Man leaning on a gate nearby - taking a drag. 26.

CIGARETTE-SMOKING MAN (CONT’D) Snatch the kid and... happy ever after? (beat) I knew you were weak, but I never took you as stupid, Jeffrey. ON SPENDER as she shakes the vision off, taking a breath, before looking at Mulder. SPENDER This isn’t a good idea. (beat) Are you really going to take him? MULDER I have every intention of bringing him back, Spender. I just... need him to understand. SPENDER You know the FBI will lock us away for good if we do this. They’re no doubt already looking high and low for you. Frustrated, Mulder rounds on his half-brother-- MULDER We have no choice! It happens in a week, Spender. ON SPENDER, chilled at what he’s referring to... ON THE GATES as more students routinely file out--finally William, with a few FRIENDS. He says ‘bye’ to them before moving to his BIKE, locked up on a chain. MULDER (CONT’D) (sees him) That’s him. ON MULDER as he edges forward, seeing William for the first time. MULDER (CONT’D) (emotional) That’s my son. ON WILLIAM, oblivious to being watched, as he unlocks the chain, leaps on the bike, and cycles down the street. MULDER (CONT’D) Let’s move. He gets back in the car, starting it up. 27.

Spender looks back at the gates--seeing the Smoking Man leaning, puffing, judging--before he climbs into the car. It splutters, then moves off down the street. EXT. STREET - MOMENTS LATER ON WILLIAM as he cycles at speed, moving onto the sidewalk when he sees cars coming. He looks back, seeing the old car trailing behind--not passing him. He looks concerned, senses tingling, but drives on-- --until reaching an alleyway, which he quickly swerves into and pedals faster! INT. CAR (MOVING) - CONTINUOUS The motion is noticed by Mulder and Spender. SPENDER He’s onto us, Mulder! ON MULDER, who sees William speeding off, but instead of spooling in pursuit he guns the car forward! EXT. ALLEYWAY - CONTINUOUS The bike pedals move fast as William, panting for breath a little, speeds down the bumpy alley. He keeps looking back for the pursuing car--until he GASPS seeing the car get the beat on him, speeding to a stop at the end of the alley! William SKIDS to his right, losing control--the bike goes flying and he hits the ground in a roll! From the car, a concerned Mulder jumps out and produces his FBI badge-- MULDER Stay where you are, William. ON WILLIAM, in pain from a visibly grazed knee and arm, who looks up afraid-- WILLIAM Who are you?! MULDER (closing in) My name’s Mulder. I’m with the FBI. Don’t be scared, William, please-- we just want to talk. 28.

Fearful, William begins edging back as Mulder closes in-- WILLIAM (loudly) HELP! SOMEBODY HELP ME!! He’s gagged, suddenly, by Spender as he appears behind him-- clasping a hand over a struggling William’s mouth. ON MULDER, very disturbed at seeing the boy struggle under Spender’s grasp. MULDER (shakes his head) Spender... SPENDER If we’re doing this, Mulder... we’re doing this. A beat... and then an uneasy nod from Mulder, watching William’s terror as Spender drags him to the car, pushing him in the back seat - jumping in after him. Clearly not sure they’ve done the right thing, Mulder quickly jumps into the drivers seat--and hits the gas, the car speeding off-- ON THE BIKE, discarded and a little bent from the skidding. CUT TO: EXT. OFFICE BLOCK - DAY To establish - a slightly run-down office building, numerous advertised to let. TAKOMA PARK, MARYLAND 4:37pm INT. OFFICE OF - CONTINUOUS KNOCK KNOCK. A door with around ten locks fastened to it up and down is repeatedly knocked. FEMALE VOICE (O.C.) (British; posh) Who’s bloody knocking?! (late-thirties, blonde, tall and handsome) begins unlocking the door and it continues banging. Finally he opens it to find Scully, Doggett just behind her. JIMMY Hey! Miss Scully. 29.

SCULLY Hi Jimmy. You remember John Doggett? She moves on through, past Jimmy - who shakes Doggett’s hand. JIMMY Sure. Agent Doggett, right? DOGGETT It’s just Detective now. Doggett passes through, leaving Jimmy to begin locking up again. ON SCULLY as she enters the cluttered, dimly lit office filled with computer systems, equipment and all kinds of junk. Ahead of her appears YVES ADELE HARLOW aka LOIS RUNCE (late- thirties, tall, beautiful, elegant yet geeky all at once). YVES Well look what the cat with a medical degree dragged in. SCULLY (little smile) Nice to see you again, Lois. Yves looks daggers at Scully as she passes her. SCULLY (CONT’D) I called ahead. Did you find anything Kimmy? REVEAL one KIMMY THE GEEK (early-forties, thin, small, runtish yet with the swagger of a brawler) perched around a mesh of computers. KIMMY You bet my shrapnel-covered ass we have! ON DOGGETT as he looks around the office, seeing photos and images all over the walls of the Lone Gunmen’s articles and achievements. PUSH IN ON a photo of MELVIN FROHIKE, RICHARD LANGLY & JOHN BYERS all together, smiling - the original Lone Gunmen. A little smile from Doggett as he sees it, Jimmy joining him. DOGGETT You really have kept the spirit of those guys alive all these years running their magazine. 30.

JIMMY (shrugs) Least we could do for the Lone Gunmen. SCULLY (O.C.) Doggett? Hearing the call, Doggett approaches Scully as she hovers near Kimmy - giving Yves a nod, she pretending to ignore them, but she nods back. SCULLY (CONT’D) Take a look at this. KIMMY (working) We’ve been hacking closed circuit since you called, tracking the van that took your girl Shannon and through the wonders of the worldwide GPS web, we found where your extra-tempestuous entities took her. He begins uploading a location as Scully and Doggett look on - while Yves glances over the magazine she’s pretending to read. YVES ‘Extra-tempestuous’? Did you look up complicated words just to impress her? KIMMY Bite me, Lara Croft: Boob Raider. Jimmy walks and stands between them, before Yves can reply-- JIMMY Will you two knock it off? It hurts my ears. ON SCULLY AND DOGGETT, who see the footage display the black van speeding into a government facility. SCULLY (nods) Fort Marlene, here in Maryland. KIMMY Now, perhaps, the highest security building uhm--yeah, in the world. SCULLY (to Doggett) Fort Marlene was where they held the original alien tissue. (MORE) 31. SCULLY (CONT'D) It’s been central to the conspiracy for years. DOGGETT Then we need to get in there. Get Shannon out. He looks toward the three honorary-Gunmen. DOGGETT (CONT’D) You guys think you can do it? Jimmy and Kimmy share a glance, before looking over at Yves - who lowers her magazine and cracks her knuckles. YVES (smiles) I love a challenge, baby. A nod from Doggett, as a concerned Scully pulls him to the side - leaving Jimmy to move into her place. SCULLY Are you crazy, John? You’re being hunted by these things and now you want to go right into the lion’s den. DOGGETT Why not? They’d never expect it from us. SCULLY (chuckles) You sound just like Mulder. DOGGETT Scully, this has to be done. (beat) I’ll understand if you want no part of it... if you want to go home. On that, Doggett moves back over to the Gunmen, leaving Scully to watch him go, thinking. She clearly has no idea which way to go on this. CUT TO: INT. OPEN-PLAN OFFICE - WASHINGTON POST Visibly worried and stressed, Renee perches at her desk going over papers, all linked to the murders, the Control arrests-- everything. 5:51pm 32.

Numerous COLLEAGUES all give her odd looks as they begin grabbing their coats, heading home, mumbling amongst themselves-- Spotting them, Renee turns away at her desk, trying to block them out. The doors close. The office now silent, she’s the only one left. ON RENEE as she studies the papers... before hearing a THUD. She looks up, a little spooked - sees no sign of the noise, the place quiet and deserted. RENEE (calming) Come on, Renee... She goes to take a drink of coffee but sighs realising she’s ran out. Grabbing the mug, Renee gets up and approaches the COFFEE MACHINE in the corner, refilling-- --as a SHADOWY FIGURE passes behind her, disappearing. Sensing, Renee turns her head... but sees no one. The coffee refills and Renee, nervously, picks it up and carefully moves back toward her desk. She’s about to sit down-- FEMALE VOICE (O.C.) Renee Lassiter? The Figure now stands behind her, a WOMAN--making Renee jump, grabbing for anything she can use as a weapon-- RENEE Stay back! Who are you?! WOMAN Please, I’m not here to hurt you. (reveals herself) My name is . Renee turns to see MARITA COVARRUBIAS (early-forties, attractive, shoulder-length blonde hair, steely yet seductive) approach her. MARITA I need your help. (off Renee’s look) I need to get a message to Dana Scully. 33.

ON RENEE as she stares at this woman, concerned... CUT TO: INT. TASKFORCE ROOM - EVENING Abuzz still with AGENTS moving around, Reyes enters the taskforce room - head in a folder. FBI HEADQUARTERS 6:29pm She sees Skinner overseeing as she looks up, finding an excited Ritter approaching her - putting his jacket on. RITTER Reyes! There you are. We got a break. REYES On what. RITTER (smiles) Mulder. He keeps on walking as a concerned Reyes, briefly locking eyes with Skinner, turns and follows. INT. OFFICE OF THE LONE GUNMEN - EVENING Scully, Doggett, Yves, Jimmy and Kimmy all around the bank of computers-- KIMMY --look, I keep telling you, we patch in a Z431-extender down the access tube-- YVES The Z431 went out of date before your old Nana was in diapers, love-- JIMMY Do we, uh-- KIMMY Like you even have technology over in England with your bowler hats and macaroons-- YVES Yet again, you think The Avengers is an accurate approximation of British culture-- 34.

JIMMY (shakes his head) Do we even have, uh, any... extenders? As Scully starts rolling her eyes, Doggett’s cell phone BUZZES and he moves away, answering: DOGGETT John Doggett. REYES (O.C.) It’s Monica-- DOGGETT Monica! I’ve been trying to reach you for a day, why haven’t you returned my-- INTERCUT: INT. CAR (MOVING) - CONTINUOUS Reyes, phone clasped to her ear, sits next to Ritter - driving fast. REYES Listen, I’m sorry. But I need to know if you’ve spoken to Mulder. DOGGETT Not since we saw him. Why? I’m guessing then he wasn’t arrested in the raid. Reyes turns away from Ritter a little, speaking quieter. REYES Because he and an unknown accomplis apparently just abducted a young boy. DOGGETT They did what?! ON SCULLY, glancing over at Doggett, spotting his expression with concern. REYES The boy’s name is Friedman... William. Friedman. Doggett’s eyes GO WIDE. REYES (CONT’D) Do you see what I’m saying? 35.

DOGGETT Yeah... yeah, I do. Scully’s here with me. REYES (urgently) She cannot know anything about this, not until we’re sure this is who--who we think it is. (nods) And if Mulder contacts you, I need to know right away. DOGGETT Yeah. I’ll call you. DIAL-TONE. The call ends, Scully approaching Doggett as his mind races... SCULLY Doggett? (he looks up) Everything alright? Doggett looks at her, not quite sure how to answer... and then KNOCK KNOCK - someone at the door. Jimmy makes for it but Doggett intercepts-- DOGGETT I got it, Jimmy. Scully watches him, suspicious, before returning to the Gunmen. ON DOGGETT as he reaches the door, removing all the locks and opening... to find Renee. DOGGETT (CONT’D) Renee? RENEE Hi. DOGGETT How did you find me here? Renee glances back... as Marita appears in the corridor, someone Doggett clearly vaguely recognises. ON SCULLY AND THE GUNMEN YVES --direct, tactical sewer approach is the best mode of access-- Scully glances toward Doggett as he enters with Renee... and then she sees Marita. 36.

DOGGETT Scully, this is-- He reacts as Scully quickly pulls a GUN from her jacket, aiming it square at Marita - who raises her hands. SCULLY Stay where you are! Don’t move! DOGGETT Scully!! SCULLY She’s one of them, John. That woman worked for the conspiracy. MARITA (nods) I did. Not anymore. ON SCULLY as she keeps the weapon poised, despite Marita edging toward her... Renee looks disturbed, the Gunmen awkward, Doggett tensed... MARITA (CONT’D) Agent Scully, I’ve risked my life, not to mention the comfortable government salary I’ve had to keep silent all these years, because I know you want to get Shannon McMahon to safety... and I want to help you. (still moving) If she dies... so might all of you. SCULLY (tense) Don’t... move any closer... Marita stops, hands still raised, unthreatening... MARITA I know how to penetrate Fort Marlene. Get past security. I just want something in return. (off Scully look) I just want to see Mulder. I have information he must hear. SCULLY I don’t know where Mulder is. MARITA You can find him. Only you. ON SCULLY, knowing that’s true, as she glances at Doggett - still clearly uncertain how this might play. 37.

SCULLY Help us... and I’ll consider it. MARITA (nods) There’s something else, something you need to know before we go in there. (beat) The person holding Shannon captive... is someone close to you. Scully frowns, concerned - what does THAT mean? INT. GOVERNMENT LAB - CONTINUOUS More SCREAMS emanate from Shannon, the tubes pumping magnetite into her body - causing a reaction. She struggles against her restraints, furious-- Charles leans over her. CHARLES You have to stop resisting, Shannon. I can make the pain go away. SHANNON (through agony) GO TO HELL! CHARLES (calmly) If you work with me we can figure out what went wrong in your mind, why you stopped following your impulses. SHANNON First... figure out what went wrong in yours... for doing this... ON CHARLES, her words cutting a little deep, as Shannon continues screaming! BZZZZ. He sees his cell phone ringing again: Scully. Obviously needing a break, Charles grabs the phone and exits the lab. EXT. CORRIDOR OUTSIDE LAB - CONTINUOUS He seals the door, takes a breath to compose himself, and answers: 38.

CHARLES (cheerful) Dana! What a surprise! INTERCUT: INT. OFFICE OF THE LONE GUNMEN - CONTINUOUS Tears in her eyes, Scully holds the phone to her ear - as Doggett, stunned, watches with Renee and the Gunmen behind, Marita close by. SCULLY Where are you? CHARLES Still at work. Three fillings to get done by 7! (unnerved) Is... everything ok Dana? SCULLY (nods; covers) I uh... I just wanted to uh... prepare a family dinner for Mom, cheer her up right now... (beat) Can you get back soon? ON CHARLES, detecting something isn’t right here... CHARLES Of course. I’ll be there as soon as I can. SCULLY (nods) Ok. I’ll see you soon. DIAL-TONE. Charles looks at the phone, deeply concerned, before moving back into the lab. INT. OFFICE OF THE LONE GUNMEN - CONTINUOUS Now struggling to hold back her tears, Scully turns to Marita with anger in her eyes. SCULLY If you’re wrong about this, I swear... I will kill you. Marita nods understanding... as Scully stalks off toward the door. DOGGETT Dana! 39.

SCULLY I’m going home. (opens the door) Don’t follow me. SLAM. The door seals behind her as Doggett watches, very worried. YVES Hissy fits aside, are we still doing this boys? And girls, of course? Doggett glances at Marita-- DOGGETT You’ll help us? MARITA Yes. But we have to go right away. A nod from Doggett, putting it all together--he turns to the Gunmen-- DOGGETT Get your stuff together guys. Yves clicks her fingers, striding off, and Jimmy and Kimmy go running. RENEE What can I do? DOGGETT (turns to her) I don’t care what she said, Scully needs someone to watch her back. Follow her and call me the minute anything happens. RENEE You got it. Glancing at the hovering Marita, Renee heads off quickly. ON DOGGETT as he takes a breath - everything moving around him. CUT TO: INT. LAB - EVENING KNOCK KNOCK. The door of an advanced laboratory is rapped repeatedly, lights flicking on from within. ADVANCED DIGITAL IMAGING LAB UNIVERSITY OF MARYLAND, 7:18pm 40.

A small man, DR. CHUCK BURKS (early-fifties, bald, bookish, the look of a chubby man who struggles to lose weight), speedily moves across the lab. CHUCK I’m coming! Hold up, hold up! KNOCK KNOCK. Chuck reaches the door, unlocks and opens it: shocked to find Mulder beyond. CHUCK (CONT’D) Fox! Fox Mulder! MULDER How you doing, Chuck? It’s been too long. CHUCK (smiles) Over ten years! Mulder moves past him into the lab, looking around-- MULDER I need your help, Chuck. Your expertise. And time is very much against us. CHUCK (nods) Of course, of course! What is it? Glancing through the door, Mulder nods and Chuck looks-- --as he sees Spender enter, before him the tied & gagged William, mumbling and struggling! CHUCK (CONT’D) (concerned) What the hell is going on, Mulder? MULDER The FBI are going to be looking for us, they-- CHUCK What are you doing with this child?! MULDER I need to put him under controlled hypnotic regression. I know your work, Chuck, I consulted with you many times on the X-Files. Your studies into mysticism and the human mind - you have the ability to do this quickly. Now. 41.

CHUCK (freaked out) I don’t understand - who is this boy?! A shared glance between Mulder and Spender, as William-- increasingly scared--mumbles. MULDER Chuck... I need you to trust me. ON CHUCK as he glances down at William, seeing the fear in his eyes, then at Mulder. CHUCK Tell me this is for some greater good. Mulder nods with sincerity, not elaborating. A long beat as Chuck thinks, deeply uncertain... before shaking his head. CHUCK (CONT’D) Gimme a minute. I’ll get ready. Chuck heads off through his lab urgently, as Mulder sees the terror in William. He crouches down before the boy, close... MULDER (softly) William listen to me... I am so sorry for everything you’re going through. (nods) But soon... you’ll understand why we did this. You’re a very special boy. ON WILLIAM, not reassured by his words, still mumbling and struggling. ON SPENDER as he holds him, seeing cigarette smoke flutter close by... turning to find the Smoking Man puffing away, leaning on a table. CIGARETTE-SMOKING MAN This can’t end well Jeffrey, you know that. Hope you like the taste of prison food. SPENDER (under his breath) Shut up! He looks away but Mulder catches the words, glancing at him. 42.

MULDER (concerned) You good, Spender? Spender glances back... but his father is gone. SPENDER (sighs) I’m fine. A little nod from Mulder, not certain, as Spender takes a breath - disturbed. CUT TO: EXT. FRIEDMAN RESIDENCE - EVENING The entire street are out of their homes, spotting POLICE CARS parked up outside the Friedman home. 7:27pm As Ritter talks to Mr. Friedman, consoling a weeping Mrs. Friedman by the door, Reyes crouches to examine the abandoned BIKE now at the bottom of the path. She stands as Ritter breaks away, approaches her. RITTER Parents said that Mulder and another guy he referred to as ‘Scully’ posted as FBI agents to get details on their kid. Said they asked... strange questions. REYES Like what? RITTER Maybe you can tell me. (off her look) You seemed to recognise the kid’s name on the phone in the car. Who were you talking to? Reyes pauses, avoiding the question-- REYES Any ID on Mulder’s accomplis? RITTER (closes in on her) If you’re holding out on me, Reyes... Skinner will nail your ass to the wall. Think about that. He stalks off, leaving Reyes to watch him go - concerned. 43.

INT. CHUCK’S LAB - LATER The gag is pulled off William, who gasps for air as he looks around scared. WILLIAM Please! Please just let me go! I won’t say anything! I promise! WIDER Taking in William, now seated on a chair, his hands fastened to the back of it - secured. Mulder, hating every minute of this, stands back with Spender as Chuck approaches William - sitting before him. CHUCK We’re not going to hurt you, William. William looks terrified as Chuck pulls out a NEEDLE, rolling up the boy’s sleeve. CHUCK (CONT’D) I’m just giving you a mild sedative. WILLIAM (crying) No! Please don’t! No! I want my Mom! I WANT MY MOM! ON MULDER, looking away as Chuck inserts the needle into his arm and William begins to calm... Chuck removes the needle, seeing William not fall asleep but look drugged. CHUCK (softly) Now relax. Just relax. I just want to go into your mind, William. ON SPENDER, watching as Mulder moves and crouches near William, concerned. CHUCK (CONT’D) William... I want you to count backwards from ten. Ok? WILLIAM CHUCK Ten... nine... eight... Once you reach zero, you’re seven... six... five... going to listen to Mulder’s four... three... two... voice. Just his voice, as he one... guides you... 44.

The countdown over, William stops and stares - in a regressive state. ON MULDER as he moves closer to William, taking his hand... MULDER You’re special, William. You have memories beyond when you should... ON WILLIAM, who experiences a FLASH: -- He sees Scully, surrounded by SUPERSOLDIERS with Reyes, delivering him as she SCREAMS! MULDER (CONT’D) You have abilities... knowledge... ON WILLIAM as FLASH: -- He sees himself in Scully’s arms, Mulder kissing her as they rock him to sleep. MULDER (CONT’D) I need you to find these memories, William. I need you to remember... ON WILLIAM as FLASH: -- Baby William in his cot, staring up, as the DIORAMA above him gently turns... WILLIAM NO! NO!!! He comes out of the regression, struggling, on adrenaline! MULDER William-- CHUCK Stop Mulder. He’s out. He’s fighting it. William gasps, still sedated, terrified - beginning to cry. WILLIAM (slurred) I want... to go home... I just... ON MULDER as he looks back at Spender, both clearly very uncomfortable at what they’re doing... CUT TO: EXT. GOVERNMENT FACILITY - NIGHT A large, towering government base surrounded by other buildings - ominous in how normal it looks. 45.

FORT MARLENE, MARYLAND 8:14pm A VW CAMPER VAN is parked just across from the entrance as we PULL BACK... to find Doggett and Marita standing near it. Doggett touches a comms earpiece-- DOGGETT You close, Gunmen? INTERCUT: INT. SEWERS - CONTINUOUS Jimmy dressed like Jason Bourne, Kimmy in black with a black beanie hat and Yves in a Catwoman-esque jumpsuit - black. They’re scampering through underground sewer drains, feet in shallow water, holding different pieces of equipment. YVES Almost there, darling. Slow and steady and all that. KIMMY (working) Blondie’s security codes better damn well work remotely down here or we’ll have a hit squad on us before we can say Solid Snake! JIMMY I’ve never met a blonde girl who lied yet. (thinks) Well, except that one in Tulsa who told me her name was Pussy Galore-- The trio reach an adjunct in the sewer drain, holding an ELECTRICAL SYSTEM. While Jimmy keeps watch, Yves works with Kimmy in accessing the system - doing their thing. ON DOGGETT AND MARITA - watching the GUARD STATION at the entrance. DOGGETT You think Scully’s brother will be in there? MARITA For his sake, I hope so. A little nod from Doggett, as they keep watching-- 46.

ON THE GUNMEN Jimmy looking disappointed he has sewer water on his shoes as Kimmy laughs out loud-- KIMMY I AM DAVID COPPERFIELD! YVES (touches earpiece) Remote external security down. You’re in. ON DOGGETT AND MARITA, both seeing the Guard move to investigate the glitch. They begin running toward the entrance-- CUT TO: EXT. SCULLY RESIDENCE - NIGHT To establish - the house is quiet, too quiet. INT. CAR - CONTINUOUS Perched in her car on street, gnawing on sunflower seeds, is Renee - keeping tabs on the house. She lowers in her seat as HEADLIGHTS precede a car pulling up just down from her. RENEE’S POV As Charles steps out, moving swiftly toward the house. RENEE (sits up) Show time. INT. FOYER - SCULLY RESIDENCE - CONTINUOUS The door closes behind Charles as he enters, hearing nothing. Ominous silence. CHARLES (calls) Mom? Dana? No response. He edges into the lounge: INT. LOUNGE - CONTINUOUS Spotting Scully sitting at the table, alone, in silence, not facing him. 47.

CHARLES Dana. There you are. Didn’t you hear me come in? SCULLY (beat; flat) How was your day? CHARLES Oh you know, just... normal. (looks around) Where’s Mom? SCULLY Father McCue took her to night service. It’s better she’s out the house. CHARLES Better for-- He stops, spotting a GUN on the table next to Scully. CHARLES (CONT’D) Dana, why is there a gun on the table? (no response) What’s going on? SCULLY I was hoping you could tell me the same thing. She finally turns to face him, fury in her eyes. SCULLY (CONT’D) Sit down. Charles pauses, unnerved by where this is going-- She picks up the gun and aims it right at him-- SCULLY (CONT’D) I said SIT. DOWN. CHARLES (raises hands) Alright... alright, take it easy Dana... Charles begins carefully lowering himself onto a table chair across from her. ON SCULLY as she trains the gun on him, rigid. CUT TO: 48.

INT. CORRIDOR - FORT MARLENE BEEP. A door slides across, giving Marita access - Doggett trailing behind her. WIDER as they edge through a facility corridor, numerous coded doors blocking different areas; while lab doors line both sides. MARITA My access codes have been reinstated. It should get us to where she’s being held. INTERCUT: INT. SEWERS - CONTINUOUS Kimmy and Yves still at the system, Jimmy behind-- JIMMY Any chance we can get out of here and take a shower now? DOGGETT Stay put, Gunmen. We may need you later. Yves sees Jimmy wrinkle his nose at that. YVES Relax. I’m the girl, you don’t have to be. ON DOGGETT AND MARITA, moving past another door. DOGGETT You know what lab she’s in? MARITA It’s just past-- She quickly, with impressive strength, pushes Doggett against one of the walls near a corridor-- --two ARMY OFFICERS on patrol walking past, oblivious to them. MARITA (CONT’D) (whispers) Replicants. DOGGETT How do you know? MARITA Let’s just say I have a nose for them. 49.

Marita pokes her head around - sees it’s safe, letting Doggett go. MARITA (CONT’D) Come on. We’re close. She heads off down the corridor and after a quick look back, Doggett follows. The door into Charles’ lab is quickly approached by Marita, scanning her card--but it doesn’t gain her access-- DOGGETT What’s wrong? MARITA (tries again) It’s not clearing me. DOGGETT (into earpiece) Gunmen? ON THE GUNMEN Where Kimmy and Yves both work the system, quickly-- ON DOGGETT AND MARITA, waiting nervously, exposed-- KIMMY Try it now, hotshots! Marita scans the card--BEEP--the door unlocks and she slips inside. DOGGETT Good work! He moves inside: INT. CHARLES’ LAB - CONTINUOUS It’s deserted of people as Marita checks, pulling out a GUN. Doggett races over to where Shannon lies, quiet now, tubes no longer pumping. DOGGETT Oh my God, Shannon! (reaches) Shannon, can you hear me? It’s John! ON SHANNON as she slowly begins opening her eyes... and smiles... SHANNON John... I knew you’d come... 50.

Doggett smiles back at her, thinly - knowing they’re not out the woods yet. CUT TO: EXT. SCULLY RESIDENCE - CONTINUOUS Moving quickly across the grass, Renee reaches the WINDOW into the lounge and crouches, looking inside. Her eyes widen as she sees Scully aiming a gun on Charles. RENEE Oh God. Oh God oh God oh God. She quickly scrambles to pull out her CELL PHONE, dialling a number. INT. LOUNGE - CONTINUOUS The gun remains trained on Charles, who feigns confusion. CHARLES Dana... it’s me, have you... have you lost your mind? SCULLY Have you? He frowns in confusion, angering Scully more. SCULLY (CONT’D) Why would you work for them? CHARLES Work for who?! SCULLY (tearful) The people who killed Melissa. Who extracted my ovum. Who GAVE ME CANCER! CHARLES (shakes his head) Dana, I don’t know-- SCULLY STOP. LYING! (sighs) I traced your call. It came from Fort Marlene. That’s not where any dentist works. ON CHARLES as he sighs, lowering his hands... CHARLES The jig is up, huh? 51.

Tears now begin streaming down Scully’s face, the gun shaking a little. SCULLY I was told... years ago, by a man... to trust no one... (shakes her head) But you’re family. You’re my brother. Why--why would you do this? CHARLES (quiet) You wouldn’t understand. SCULLY Make me understand. A long beat from Charles, who finally has the courage to look her in the eye again. CHARLES You know what’s coming, Dana. It happens in a matter of days. The end. (beat) But there are still things to be done in the light here, preparations--they’ve always desired human collaborators and in exchange? I guarantee our safety. Scully shakes her head... CHARLES (CONT’D) Me, my wife, my kids, Bill, his family, Mom... you, Dana. We’ll survive. SCULLY A group of men made that same deal sixty years ago. They never lived to see it happen. CHARLES It’s different this time. Those men wanted to stop them. Now... people like me understand Purity Action has been inevitable since the dawn of man. (sighs) All I want is to protect my family. SCULLY You can’t protect us. 52.

CHARLES Resist or serve, Dana. (sad) Stop resisting. You can’t stop this... and nor can Mulder. Tears now flow from Scully, ripped apart by Charles’ calm admission. CUT TO: INT. CHARLES’ LAB - FORT MARLENE Marita begins loosening Shannon’s restraints, feet and hands, while Doggett hovers near her. DOGGETT We’re gonna get you out of here. SHANNON John... DOGGETT Look I know. I know you were helping Control, trying to stop it. SHANNON Mulder... (off his look) We have to protect... Mulder... protect his son... Doggett nods - though he clearly doesn’t quite understand it. DOGGETT We will. Once we get you out of here. BZZZ. He hears his cell ringing and pulls it out: Renee. He looks back, where Marita finishes unhooking the restraints. DOGGETT (CONT’D) I gotta take this. Marita nods and Doggett steps outside: INT. CORRIDOR - CONTINUOUS He looks to see he’s clear and answers. DOGGETT Renee? Is everything alright? 53.

RENEE (O.C.) John! It’s Scully! She has a gun on her brother, I think she’s going to-- GUNSHOT. DOGGETT Renee? Renee, talk to me!! INTERCUT: EXT. SCULLY RESIDENCE - CONTINUOUS A shell shocked Renee, having ducked, looks up and inside... DOGGETT (O.C.) RENEE!! ...where she sees Scully get up from the table, having unloaded a bullet into the wall right next to a frozen Charles. Renee looks to the front door as a shell-shocked Scully exits, pocketing the weapon - spotting Renee. SCULLY I’m going to church. And she walks off, in a world of her own. ON RENEE as she watches her head away, not quite sure what to say... ON DOGGETT, head still in the phone: DOGGETT Renee, are you there? WHIRR! A loud BASE ALARM begins to sound, Doggett looking around--uh oh! DOGGETT (CONT’D) I’ll call you back! He rushes into the lab-- INT. CHARLES’ LAB - CONTINUOUS --where Shannon is violently CONVULSING, thrashing on the bed, as Marita tries stabilising her! DOGGETT WHAT HAPPENED?! 54.

MARITA I don’t know! She was fine and then- -she started having some kind of reaction! ON SHANNON, magnetite beginning to overcome her entire body, turning her skin metallic... Doggett helps stabilise her as Shannon grabs him by the arm-- SHANNON (gargled) Stop--the-- Her head suddenly flips back as she convulses the most violently yet, SCREAMING as magnetite covers her completely-- --before she EXPLODES INTO METALLIC ASH ON THE BED! Doggett and Marita leap back, horrified-- DOGGETT Shannon... WHIRR. The base alarm keeps sounding, heard by Marita. MARITA Doggett. We have to go! INT. CORRIDOR - CONTINUOUS Moving through the door, Doggett and Marita turn-- --only to see three ARMY SUPER SOLDIERS moving toward them, running mercilessly. DOGGETT GO! MOVE IT! They charge up the corridor as Doggett’s earpiece crackles-- KIMMY Doggett, cut loose! They’re onto you! DOGGETT Bit late for the heads up! Get to the van!! Marita scans through a door which opens--as she notices two more ARMY SUPER SOLDIERS racing toward them the other way-- Doggett spots an adjacent corridor-- DOGGETT (CONT’D) This way! 55.

MARITA You go! I can hold them off! She pushes him down the corridor, pulling her gun-- DOGGETT Marita, wait! MARITA I SAID GO!! And she turns a corner, racing down the corridor. Doggett begins running as he hears--BANG! BANG!--and then a SCREAM, before silence. DOGGETT MARITA!! He stops, looking back... as four SUPER SOLDIERS turn the corner, racing toward him. Doggett books it, running like lightning-- EXT. FORT MARLENE - MOMENTS LATER A sewer hatch pops open as Yves scrambles through, helping up Kimmy quickly--as she sees Doggett racing out of the facility. DOGGETT START THE VAN!!! Kimmy out, it’s Jimmy finally who athletically leaps out as Yves jumps into the van. DOGGETT (CONT’D) START IT!!! ON DOGGETT as he races toward them - four Super Soldiers gaining on him behind! The van starts up and Kimmy slides the door open, Jimmy pushing him in as he jumps through, and Yves speeds the van around-- --allowing Doggett to literally leap inside, legs hanging out the back as Yves guns it! The Super Soldiers stop running and just watch at the Gunmen van races off into the night. CUT TO: INT. CHUCK’S LAB - NIGHT A gasping, panting William - tears streaming from his face as he remains tied up. 56.

PULL BACK to find Chuck in hushed conversation with Mulder and Spender. CHUCK (sighs) We’re not getting anywhere. He’s being obstinate. Resisting. SPENDER Let me try. Mulder looks at Spender... and nods, stepping aside with Chuck. Spender heads over to the almost-hyperventilating William, crouching near him. SPENDER (CONT’D) Hey... my name’s Jeffrey. (beat) I know you’re scared. I know how that feels. Not long ago, I was taken away and subjected to tests, horrible tests that made me look... like the monster I do now. His words, slightly, seem to calm William. SPENDER (CONT’D) My father did this to me, made me what I am. A haze of smoke only Spender sees, glancing up... where the Smoking Man stands, puffing away and watching, yet saying nothing. He looks back at William, who sees nothing when he looks. SPENDER (CONT’D) We’re didn’t bring you here to hurt you like I was hurt, William. We just want to show you something. We just want you to know the truth. WILLIAM What... truth? SPENDER (beat) Haven’t you ever wondered... who your real parents were? ON WILLIAM as he glances at Mulder, looking pained, before shaking his head... WILLIAM My Mom told me they were... dead. 57.

SPENDER (grim smile) If you let us show you... then we’ll let you go. We’ll let you go home. A long beat as William thinks... and finally nods. WILLIAM Ok. Spender smiles--if you can call it that--and heads back to Mulder. SPENDER Let’s finish this. Mulder nods, looking at Chuck - who sits across from the calmer William. CHUCK I want you to count back again from ten William... nice and slowly... Moving to the side of William once again, Mulder hovers. WILLIAM Ten... nine... eight... seven... six... five... four... three... two... one... MULDER Think back, William... think back to what you couldn’t know... to a time before your family... ON WILLIAM as he gets a FLASH: -- A younger Margaret Scully rocks his crib. -- An ALIEN ARTEFACT flies through the air, stopping above baby William in his crib, who turns it with his mind. -- Baby William lying in a field as a SPACECRAFT takes off near him. -- Spender, holding William and rocking him. -- A needle penetrating his skin. -- Scully, rocking him to sleep, singing him a lullaby. FLASH and William’s eyes flash open as he GASPS! He looks at Spender, almost in recognition, then the same way at Mulder. 58.

MULDER (CONT’D) (hopefully) William? Do you remember? Do you... know who I am? William is about to reply when--SLAM!! Several lab doors burst open and FBI AGENTS, bearing rifles, begin racing in - led by Ritter. RITTER FBI! DON’T MOVE!! Without thinking twice, Spender looks at Mulder before running towards an open window--vaulting through it and disappearing! AGENTS swamp them, slamming Chuck onto a table as he holds his hands up, not resisting-- Mulder stands, weapons trained on him, as Ritter walks right up to him - noticed by Reyes as she enters behind him. RITTER (CONT’D) Fox Mulder. At last. MULDER Peyton Ritter. Always knew you’d do well for yourself. A grin from Ritter--before he SLAMS Mulder against a wall, handcuffing him as he reads him his rights. Mulder looks over at William, Agents removing his restraints, as Reyes crouches near him. REYES Hey William. I’m Monica. You’re safe now. I’m going to take you home. William just looks over at Mulder, Reyes doing the same - giving him a loyal nod. Ritter begins gleefully carting Mulder out of the lab, along with Chuck - as Reyes is left to watch. She looks at William, still watching Mulder go, looking at him a little in awe... REYES (V.O.) (CONT’D) Following the arrest, I delivered William Friedman back to his family. 59.

EXT. FRIEDMAN RESIDENCE - NIGHT The door flies open and Mrs. Friedman, crying with relief, races out as William is escorted by Reyes - flanked by an FBI van - up the driveway. Mr. Friedman joins them as she embraces William tightly, holding them both. REYES (V.O.) The boy suffered no physical harm, besides an injection of light sedative administered by Dr. Charles Burks, a registered professor at the University of Maryland. He has since been handed over to county authorities for questioning. ON WILLIAM as he’s hugged, not hugging back, a distant expression on his face. INT. DIRECTOR’S OFFICE - DAY An extremely plush office, large and well-furnished, where Reyes now stands with Ritter and Skinner beside her. FBI HEADQUARTERS 7:22am Across from them, perched at a desk, sits FBI Director ALVIN KERSH (late-fifties, black, stern and official), reading a report. SKINNER I’m happy to report, Mr. Director, that all elements of Control are now fully subdued. Fox Mulder is in custody and while his associate, subsequently identified as former FBI agent Jeffrey Spender, remains at large we’re confident he’ll be swiftly found. Kersh nods - closing the folder, looking at them. KERSH I can only extend my thanks, Agents, at the meritorious efforts of you and your team in this matter. (beat) Special Agent Ritter I intend to champion in particular for a commendation. 60.

RITTER (nods; smiles) Thank you, sir. KERSH I’d like a full debrief report on my desk in the hour. That will be all. Skinner nods, heading for the door along with Ritter and finally Reyes. KERSH (CONT’D) (stands) Agent Reyes. (she turns) You should stick with this new crowd. Your career may last if you do. A hint of a frown from Reyes as she nods, heading out and closing the door-- --just as an adjacent one opens and the Toothpick Man enters. KERSH (CONT’D) Control has been contained. The Toothpick Man nods - the closest thing to gratitude. FEMALE VOICE (O.C.) Even better than that... Eyes on the door... as Marita walks through, not looking an inch out of place. MARITA Better than Mulder in our custody... we now know where to find the boy... ANGLE ON HER NECK... which shows a protruding vertebrae. She’s a SUPER SOLDIER. CUT TO: INT. BABY’S ROOM - FRIEDMAN RESIDENCE - DAY William, standing next to the cot where his baby brother lies sleeping, staring at him. He is distant... different... And he stares at the DIORAMA OF PLANETS above the baby... ON WILLIAM as he focuses on it, beginning to hear a faint whistling... 61.

ON THE DIORAMA... as it slowly begins to rotate... ON WILLIAM as he stares at the diorama... ON THE DIORAMA as it continues turning... ON WILLIAM as he looks amazed... he’s doing this... and now he knows it... BLACK OUT: 62.

TO BE CONTINUED 63.

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