"Fox & Rat" Virtual Series - Season Six

 

Review By: Cerasi J.

"What the hell do you two idiots want?" -Kersh

When a senator's daughter goes missing, who do you call? No, not Ghostbusters! Special Agents Doggett, Reyes and Scully, of course! Kelly E. Clark, daughter of New York senator Bob Clark has been kidnapped and only three million bucks and some quick thinking from our Agents can save her! Brad sends the Agents to stakeout a suspicious building that could make or break the case. When a gut feeling propels Agent Reyes to invesigate a light in a window, all hell breaks loose and now it looks as if Agent Reyes could lose her job!

Will the Bureau realize what Monica did was right? Or will they terminate one of their best agents over the demands of a distraught senator? Find out in tonight's gripping new episode!

6x16 "The Burden of Intuition"

Title: "The Burden of Intuition"
Story by:
Kristi & Cassie
Written by:
Kristi
Date: November 12, 14-15, 2003, November 19-20, 2003
Air Date: January 12, 2004
Rating: PG-13 (language)
Series: FRVS - Episode #115
Spoilers: Past episodes of FRVS may be spoiled.
Feedback: E-mail us at foxandratvs@gmail.com (please include the episode name in the subject) Thank you.
Archiving: "Fox & Rat" Virtual Series only!
Disclaimer: "The X-Files" and its characters belong to 20th Century FOX Broadcasting. If you recognize it, it's not our own creation. Original characters belong to Cassie and Kristi (FRVS).
Author's Note: The personalities of the characters within the world of "Fox & Rat" are not those you know from "The X-Files" television series. We have warped them and given them a common past, immature behavior and a sense of humor. Any horrid behavior should not be mimicked in your every day life.
Summary: A girl has gone missing, and it's up to the missing person's task force to find her before it's too late. Doggett, Scully and Monica are put on surveilance and the decision of one agent leads to a world of trouble...


FADE IN:

EXT. FBI HEADQUARTERS - WASHINGTON, D.C. - 8:00A.M.

The sun is shinning, the birds are chirping and not a cloud is in the sky. All this peace could only be interrupted by the SCREECHING TIRES of Mulder and Krycek coming to work, only to be followed by a BANG as they run right into Agent Robert Alfredo's expensive sports car.

Giggles can be heard from Mulder and Krycek's car. Alfredo gets out of his car. He's pissed.

ALFREDO
Dammit!

Krycek gets out of the car. Mulder follows.

KRYCEK
Stop loving my Marita!

Krycek pushes Alfredo into slush on the road.

MULDER
(not listening)
Yeah! We want our "Hawiian
Bunny" tape back!

As all three of these idiots fight in front of the FBI we pan up the building to the fifth floor window. Pushing in through the window, we see Deputy Director Alvin Kersh drinking his morning coffee, looking down at the accident outside.

INT. KERSH'S OFFICE

KERSH
(to himself)
Oh god… this is going
to be a long day…

He turns to his desk and hits the intercom to talk to his secretary.

KERSH
Judy?

JUDY (FILTERED)
Yes, sir?

KERSH
If Agents Alfredo, Mulder,
and Krycek come up here, tell
them I'm in an important
meeting and shouldn't be disturbed.

JUDY (FILTERED)
As always, sir. (beat) Assistant
Director Follmer is here to see you.

KERSH
(cheery)
Oh great, send him on in.

Kersh sets his coffee down on his desk as Brad comes in.

KERSH
(friendly)
Good morning Brad.

BRAD
(professional)
Morning, sir.

KERSH
What can I do for you?

He signals for Brad to have a seat. Kersh sits down at his desk.

BRAD
(sitting down)
This case you handed me yesterday-

KERSH
-The missing girl?

BRAD
Yes. (beat) Sir, I need your
approval to add a small unit
on surveillance. We've got
suspicions, but not enough
probable cause to issue a warrant.

KERSH
Not a problem.

BRAD
(hesitant)
I need Agents Doggett, Scully
and Reyes to be that unit.

Kersh has turned more serious. He waits a beat before he speaks.

KERSH
I wasn't aware your
investigation was an x-file.

BRAD
(hesitant)
It's not an x-file, sir.

Kersh is not happy with this request. His tone of voice has gone back to the tone we're use to on "The X-Files".

KERSH
Agents Doggett, Scully and
Reyes are assigned to
the x-files division.

BRAD
I'm aware of that, sir. As you
know, Agents Doggett and Reyes
have worked child abduction before,
and Agent Scully-

KERSH
(stern)
-No.

BRAD
(sighs)
Sir, they are qualified agents
and deserve to be on a real case.
Not some B.S. you write up when
you're not making buttons for The
Brotherhood, or planning a weekend
cookout. (beat) They are trained
Federal Agents, and I think-

KERSH
-I know what you think Mr. Follmer,
and if this is your way of increasing
pay for Agent Reyes, then-

BRAD
-Sir, you know that's not why
I've asked them on to this case.
(beat) I need experience agents.
A child's life is on the line.

There is a beat of silence as Kersh takes all of this in.

KERSH
Fine, you have my permission
to put them on the case.

BRAD
Thank you, sir.

Brad gets up from the chair and heads to the door.

KERSH
One more thing, Assistant Director.

Brad stops at the door and turns to face Kersh.

KERSH (CON'T)
I know you have the tendency
To get personally involved
When it comes to Agent Reyes.

He looks over at Brad, making eye contact to intensify his words.

KERSH (CON'T)
This is an important case, Brad.
(beat) Not just for the family,
or your career, but for the
image the FBI has. (beat) Don't blow it.

Off of Kersh's stern, and rather threatening tone…

CUT TO:

INT. DOGGETT & REYES OFFICE

Doggett is sitting at his desk reading the morning paper and drinking his coffee.

Scully is sitting at Monica's desk reading a large stack of hand written papers.

SCULLY
(intrigued)
Wow…

Doggett looks up and over at Scully. She's really into what she's reading.

DOGGETT
What's that you're reading?

SCULLY
Something Monica's been
writing for a long time.
She's a good writer.

Doggett comes over and looks over her shoulder.

DOGGETT
What is it? A novel?

SCULLY
I don't know, she doesn't
know I've been reading it.
It seems to be based on her life.

DOGGETT
How do you figure?

SCULLY
Tell me, did you ever go to a
boarding school and repeatedly
kicked your roommate, "Mark",
out while you had sex with a girl?

Scully looks up at him. Doggett looks guilty.

DOGGETT
(worst liar ever)
No… (beat) I never had a
roommate named Mark.

SCULLY
What about Bradley Markus
Follmer? (beat) She's using
middle names, "Jay".

Scully smiles at Doggett, who's face has turned red.

The office door quickly opens and Monica runs in, shutting the door behind her.

Scully quickly puts the novel away where she found it in Monica's desk.

MONICA
What ever you do,
don't open the door.

Doggett and Scully look at her confused. Then, they here it…

MULDER (O.S.)
NO!

KRYCEK (O.S.)
Yes! It was!

MULDER (O.S.)
No! We did it for our tape!

KRYCEK (O.S.)
No!

MULDER (O.S.)
YES!

Doggett and Scully finally understand what Monica was running from. No one needs Mulder and Krycek fighting in their office. Monica looks over at Doggett and Scully.

MONICA
What are you doing at my desk?

SCULLY
Nothing.

Scully smiles at her in a guilty way.

DOGGETT
So, Monica… write a lot?

Monica looks at him suspiciously, then at Scully.

MONICA
No… why?

DOGGETT
No reason.

The phone rings.

SCULLY
(re: phone)
I'll get it. Hopefully it's
Walter giving me good news
about a desk…

She picks up the phone.

SCULLY
Agent Scully, in need of a desk.
(beat; disappointed) Oh, hi. (beat)
All three of us? (beat). Ok. We'll
be right up.

Scully hangs up the phone.

SCULLY
Brad needs to see all
three of us in his office.

MONICA
About what?

SCULLY
Don't know.

She shrugs and heads to the door.

CUT TO:

INT. BRAD FOLLMER'S OFFICE

Brad is at his desk reviewing details of the missing girl case before briefing Monica, Doggett and Scully. There is a knock on his office door.

BRAD
Come in.

The door opens and Monica, Doggett and Scully come in.

DOGGETT
Are you the only Assistant
Director without a secretary?

BRAD
She left months ago. No
one's bothered to find a
replacement. (beat) Have
a seat please.

He signals to three chairs in front of his desk.

BRAD
You're probably wondering why
I've asked all three of you-

SCULLY
(amused with herself)
-Yeah, usually it's just Monica
and we all know what goes on
in here when she's up here.

Scully giggles softly. Brad and Monica look at her, not amused at all.

MONICA
(not amused/shocked)
Just what exactly are you
implying goes on up here,
Agent Scully?

SCULLY
Well, you guys… you
know… have office sex.

MONICA
Is that what you think of us?

SCULLY
Well, I-

BRAD
(not wanting a fight)
-Agents.

Scully and Monica stop the argument from coming.

BRAD
(getting back on track)
I've called all of you up here
because I need experienced agents.
(beat) Yesterday I was handed the
missing person's file on Kelly E.
Clark. She's the youngest daughter
of New York Senator Bob Clark. (beat)
We've got suspicions about a man
who has been harassing the Senator,
however we don't have enough probable
cause to issue a warrant.

DOGGETT
Why do you need us?

BRAD
I need you to stakeout his
apartment. Record anyone coming
to and from, any unusual behaviours-

DOGGETT
-This isn't an x-file, I
don't think the Deputy
Director will allow this?

BRAD
I've already spoken with
him and he's given me the go-ahead.

He hands each of them a copy of the file.

BRAD
We know this guy is not the Senator's
number one fan. Based on the profile we've
developed he may be ex-Marine, or may have
tried to get into the Marines but failed.
Based on some threats the Senator has received
in the past, he knows a lot about fire arms and
may be armed. (beat) You are not to engage with
him at all. We don't need anyone getting hurt.

He glances at Monica.

BRAD
(after a beat)
Any questions.

MONICA
What if we sense immediate
danger to the little girl's life?

BRAD
Call back up and then proceed.

Monica nods.

There is a beat of silence as Brad waits for anymore questions.

BRAD
If there are no further
questions, then we're done.

He waits another beat to make sure.

BRAD
(wrapping it up)
Be sure to report everything
to me. This is a very important
case, so be careful out there.
(beat) You're dismissed.

TIME CUT TO:

INT. SURVEILANCE BUCAR
DOWNTOWN CITY STREET - NEW YORK
1:19 P.M.

By this time, clouds have moved in, blocking the sun.

Being that it is early January, our heroic trio is bundled up in the bucar. Doggett is on the driver's side, Scully is shotgun, and Monica is in the back seat, sitting in the middle.

In the CD player, Céline Dion's "I Want You To Need Me" is playing. Scully and Doggett are singing their hearts out. They are having a blast on this stakeout.

Monica on the other hand isn't amused that Dana brought her entire Céline Dion CD collection and that she and John have been singing for the past hour. She looks from Dana to John, irritation building. She rolls her eyes and then turns her attention back to a building across the street. She has a little note pad in her hand.

The song ends and John and Dana look at each other and smile.

SCULLY
Is it me, or is it
really hot in here?

DOGGETT
Yeah, I think so too. (beat)
We should turn off the heater
for a while.

SCULLY
Ok.

MONICA
I'm cold.

Doggett and Scully don't listen and he turns off the heater. Monica lets out an irritated sigh.

SCULLY
How about we put in
"A New Day Has Come".

DOGGETT
Great CD. Put it in.

Scully smiles and searches for the CD.

MONICA
How about, since we are listening
to music, why don't we listen to the
CD my brother Antonio made for me
of him playing the Spanish guitar.

Monica sounds hopeful in her voice, too much Céline Dion can drive a person crazy. She hands the CD to Scully who takes it.

SCULLY
Ok.

MONICA
He gave it to me for Christmas.
I think you guys will like it.

Scully shrugs and puts it in the CD player. The CD starts up. Sounds pretty darn god. It's not even in for ten seconds before John takes it out.

DOGGETT
No… I want to listen
to "A New Day Has Come".

He tosses the CD back at Monica. Dana puts in "A New Day Has Come". Monica lets out another sigh and carefully puts her CD back in it's case. Her attention returns to the building.

The first track starts up, "I'm Alive". Monica rolls her eyes. She's not a fan and would rather eat sewer rats than go through this kind of torture.

Doggett and Scully start singing again.

MONICA
I'm tired of this crap.

DOGGETT
She's not crap.

MONICA
Whatever. (beat) You're making me
want to burn all of these CDs.

Scully turns around happy.

SCULLY
(thinking he wants a copy)
Really?

MONICA
Not to copy, hun'. To destroy.

Scully gets a sad look on her faces and turns to the front again.

MONICA
Would you mind turning the
heater on. It's freezing back here.

DOGGETT
Stop your bitching, Mon'.
It's hot up here. How
can you be cold?

MONICA
Circulation in this bucar sucks.
(beat) At least hand me one of
the blankets we brought.

DOGGETT
Then we'll get cold. (beat)
You're just Monica, you'll be fine.

MONICA
(irritated)
Yeah, "just Monica"… Monica from
Mexico who hates the
cold and freezes easily.

She sits back in her seat, crossing her arms to help keep heat in her body.

MONICA
How about we turn off
the music and have more
than just me watching
the building. After all,
we are on a stakeout, agents.

Doggett and Scully give each other a look. Maybe Monica's right. This is an important case.

CUT TO:

INT. DEPUTY DIRECTOR KERSH'S OUTER OFFICE - 2:30P.M.

Kersh's secretary, Judy, is typing at her computer.

Mulder and Krycek come in and march up to her desk. Judy looks up at them.

KRYCEK
(calm & polite)
We would like to speak
with the Deputy Director please.

JUDY
(snotty)
He's in a very important
meeting and shouldn't be
disturbed.

KRYCEK
(mad)
You say that every
time we come up here!

JUDY
Point being?

MULDER
(upset)
I think you're lying to us!

Judy just smiles at them and turns back to her computer.

KRYCEK
This is very important.

Judy rolls her eyes. Krycek cocks an eye brow. He leans in.

KRYCEK
(Mr. Sexy)
Come on, baby. (beat) For me?

Judy looks at him, not falling for "Mr. Sexy".

JUDY
(dead pan)
No.

She turns back to her computer.

KRYCEK
(pissed again)
Dammit woman!

Mulder puts his hand on Krycek's shoulder and gives him a look to back down. He does. Mulder calmly steps forward. He looks down at his feet, takes a deep breath, then suddenly looks up with a renewed liveliness to him.

MULDER
(singing and dancing)
We're tiny, we're toony!
We're all the little loonies!
And in this cartoony, we're
invading you're TV!

Judy looks up at him horrified.

JUDY
Oh my god! Just go in!

Mulder stops his song and dance and smiles. He and Krycek go into Kersh's office.

INT. KERSH'S OFFICE - CON'T

Mulder and Krycek come into Kersh's office loudly.

KRYCEK
Kersh-meister!

Kersh isn't happy to see them. Mulder slams his office door shut.

KRYCEK
We need to talk!

KERSH
(hitting intercom)
Judy, didn't I tell you not to let-

JUDY (FILTERED)
-I had to, sir. Agent Mulder
started singing and dancing to
the "Tiny Toons" theme song.

Kersh looks up at Mulder. Mulder smiles and waves at him.

KERSH
(not happy)
What the hell do you
two idiots want?

KRYCEK
We have a complaint!

Kersh rolls his eyes.

KRYCEK
It's the damn Janitor. (beat)
He yelled at us for being in
the Janitor's Lounge.

MULDER
(affirming)
Yeah!

KERSH
Why were you in the Janitor's
Lounge to begin with? (beat)
Wait, I don't care.

KRYCEK
The Janitor said we couldn't
be there, then I told him we
were Special Agents and could
do whatever we want!

MULDER
Yeah! So to prove this, I spat
my chewing gum out on the floor
and told him to pick it up!

KRYCEK
And the Janitor didn't!

MULDER
Yeah, and then I accidentally
stepped in it and it stuck to
the bottom of my shoe. (beat) See!

Mulder sits down in a chair and slams his right foot up on Kersh's desk, knocking a framed family photo right off the desk with a loud shattering crash!

Mulder hasn't really taken note of the mess he made. Kersh looks from Mulder to the ground where his broken frame lies. He doesn't even look at Mulder' shoe.

MULDER
LOOK!

Kersh glares.

KERSH
Agent Mulder, get your foot
off of my desk right now.

The tone in Kersh's voice scares Mulder. He fumbles to his feet, and in this process manages to knock the lamp off of the desk.

Kersh holds in his anger.

MULDER
(panic)
Oh gawd…

Mulder picks up the lamp and sets it back on Kersh's desk. He then crawls on his hands and knees over to the broken picture frame and sets it on the desk. He then starts to pick up the broken glass. Being clumsy, it's only expected that he would cut himself… and he does.

MULDER
Owie!

Krycek winces as he sees Mulder making a bigger dumb ass out of himself. Mulder sits on the ground sucking on the palm of his hand. He sniffs.

KERSH
(having enough)
Holy god! Agent Mulder!

Mulder jumps to his feet and salutes Kersh.

MULDER
Yes sir!

Kersh rolls his eyes.

KERSH
(pissed)
Take your petty "janitor
issue" to your direct superior.

KRYCEK
You mean Wally?

Kersh can't believe he just heard "Wally" come out of Krycek's mouth.

KERSH
Yes. (beat) Now leave.

He glares at them as they leave.

CUT TO:

INT. SKINNER'S OFFICE - 2:45P.M.

Skinner is sitting at his desk looking into a tiny pocket mirror. He's checking out the top of his head. He rubs it with his hand. He looks pensive, sets the mirror down and hits his intercom.

SKINNER
Hey Kim?

KIM (FILTERED)
Yes, sir?

SKINNER
Could you run out and buy me
some Rogain with the petty cash?

There is a long long beat. Skinner looks at the intercom.

SKINNER
(into intercom)
Kim? You still there?

KIM (FILTERED)
Yes, sir. (beat) Did you just
ask me to buy you Rogain, sir?

She sounds utterly confused. Skinner looks at the intercom again.

SKINNER
(to himself)
Hmm… maybe this intercom doesn't work.

He leans over his desk and peers out the open door at Kim.

SKINNER
Psst! Kim!

Kim leans over her desk and looks into his office. She's very confused.

KIM
Yes?

SKINNER
I don't think the intercom
is working. (beat) I asked
if you could run out and buy
me some Rogain with the petty cash.

Kim looks at him like he's crazy.

KIM
Are you serious, sir?

SKINNER
Yeah.

He nods his head, not even thinking for a second that this is an odd request.

KIM
All right…

Mulder and Krycek walk into Skinner's outer office.

KRYCEK
(Mr. Sexy)
Hey Kimmy, baby. Is it cool
if we have a few words with
da Skinman?

KIM
Sure.

She's still slightly confused about the Rogain request.

KRYCEK
Thanks, baby.

MULDER
(shy)
You're sweet, Kim.

KIM
Ok…

Mulder blushes as Kim passes him to go get Rogain.

INT. SKINNER'S OFFICE - CON'T

Skinner is back to checking out the top of his head when Mulder and Krycek enter.

KRYCEK
Sir! I have major complaint!

Skinner looks up and sets his mirror down.

MULDER
(outburst)
I DIDN'T DO IT!

KRYCEK
YES YOU DID!

MULDER
(to Skinner)
Sir, I really didn't do it.

KRYCEK
Yes you did. You stepped on
my shoe and got gum all over it!

MULDER
It was an accident!
No reason to push me!

KRYCEK
(to Skinner)
Mulder dented the elevator, sir!

MULDER
Because of you! It's not my fault!

KRYCEK
It is too!

MULDER
It is not!

KRYCEK
Is too!

MULDER
Not!

KRYCEK
Is!

MULDER
NOT!

KRYCEK
IS!

SKINNER
(out of the blue)
Do you guys think I need Rogain?

Mulder and Krycek stop their bickering and stare at him blankly.

TIME CUT TO:

INT. BUCAR - 7:27P.M. - STREETS OF NEW YORK

John isn't in the car. Scully still sits in the front passenger seat and Monica is in the back. By this time, Dana has given Monica a blanket to help keep her warm. In the CD player is the CD Antonio made for Monica. They are watching the building still.

SCULLY
(re: Spanish guitar)
Wow, your brother is really good.

MONICA
I know.

She smiles.

MONICA
He writes his own songs.

SCULLY
(impressed)
He does?

MONICA
Yeah. Last year he wrote one for me.

She smiles proudly.

SCULLY
Never would've guessed that
from when I saw him in Colorado.

MONICA
Yeah…

Monica's mood dampens from the reminder of what her brothers did to them during Thanksgiving… well, Carlos at least… The drivers side door opens and Doggett comes in with two white sacks.

DOGGETT
Sorry it took me so long.

MONICA
That doesn't smell like Subway.

DOGGETT
That's because it's not.

He pulls out one polish sausage and hands it to Dana. Her eyes light up.

SCULLY
(shocked)
You didn't go all the way
back to M street did you?

She smiles at him.

DOGGETT
Nope, but I found the best
polish sausage stand in New York.

He pulls another one out and hands it to Monica. She doesn't take it.

MONICA
John, you know I don't like
this crap. Plus we all agreed
on getting Subway sandwiches.

DOGGETT
It was out of the way.

MONICA
That's B.S. Subway is
just around the corner.

DOGGETT
(irritated)
Are you going to eat this?

MONICA
No, it makes me sick to my stomach.

SCULLY
I think these are great.

DOGGETT
Hey, if you want another one…

He holds up what would've been Monica's and winks at Scully. He pulls out of the other white sack, another polish sausage and takes a large bite out of it.

DOGGETT
(hearing the CD)
What are we listening to this crap?

MONICA
Because my broth-

DOGGETT
-Let's put in "Let's
Talk About Love".

He takes Monica's CD and once again tosses it back at her. Monica gives him a glare and lets out a sigh as she carefully puts the CD in it's case.

DOGGETT
So did anything happen
while I was gone?

MONICA
Yeah, it was a lot
more pleasant in here.

Doggett ignores her.

SCULLY
Nothing. No deliveries, no
one leaving… yadda, yadda, yadda…

Doggett nods as he finishes off his first sausage. He pulls a second one out of his bag.

MONICA
How about we turn the music off
again. (beat/under breath) Maybe
it'll remind you to do your job…

Scully turns off the music.

MONICA
Thank you.

SCULLY
(looking at Doggett)
You know, with the sun down,
it sure does make it colder
in here, even with a blanket.

She coughs. Doggett looks over at her.

DOGGETT
Come here.

He puts out his arm. Scully moves over to him.

DOGGETT
(winks at her)
I'll keep you warm.

SCULLY
Thanks.

MONICA
(rolling eyes)
Why don't you two
get married already.

Doggett gives her a look through the rearview mirror.

DOGGETT
What? Is it so bad to
help keep her warm?

MONICA
No. (beat) But maybe you
could be kinder to me.

DOGGETT
I'm nice to you.

MONICA
Define "nice" in your language.

DOGGETT
What does that mean? (beat)
You know Monica, I don't even
know how to talk to you anymore.
(beat) What's your issue?

MONICA
My issue? (beat) Gee, I don't know.
(beat) Maybe it's how you don't treat
me like your partner. Maybe it's how
you toss my CD around. Maybe it's how
you would eat dog shit for Dana, and
totally snub me off as "just Monica". Maybe-

DOGGETT
-What, are you jealous?

MONICA
No. I want some respect from
you John. That's all I want.
Stop treating me like the next plague.

There is a beat of silence.

DOGGETT
I don't know what to say, Monica.
(beat) I'm sorry. I didn't realize
you feel like the next plague.

There is a long silence.

MONICA
If you guys don't mind. I'm
going to go buy myself some
dinner. (beat) Please keep an
eye on this place, this is an
important case. We don't
want to muck it up.

SCULLY
Ok. (beat) Be careful.

Monica gets out of the car and heads down the street.

DOGGETT
Have I really been that rude to her?

SCULLY
Honestly?

Doggett nods his head.

SCULLY
Yeah, a little.

CUT TO:

INT. SENATOR BOB CLARK'S RESIDENCE - NEW YORK - 11:20P.M.

The living room of the house if filled with several agents working on the case.

Among the agents are Brad, Kersh, Special Agent Martin Fitzgerald of the New York Field Office (missing persons unit) (you may know him from the TV show "Without A Trace", Thursday nights on CBS…), and many other agents.

A table is set up with surveillance equipment, and their phone is wired for trace and record incase they hear from the guy who abducted the little girl.

Mrs. Clark is sitting on the couch. She's crying, and an agent is there trying to comfort her. Kersh is with the Senator at the other side of the living room.

Brad is talking with Martin Fitzgerald (an agent he knew from his days working at the New York field office). They are talking by the equipment on the table. They talk quietly so the Senator and his wife don't hear.

BRAD
All we can hope for now is
for this guy to call. Run a
trace and pin point a location.

MARTIN
I'd be worried if
ransom isn't demanded.

BRAD
I've got a unit on surveillance
on our possible suspect. They
have nothing to report so far.

MARTIN
Not good. We keep hitting dead ends.

Senator Clark comes up to Brad and Martin. He isn't happy at all.

CLARK
Do you have any news on Kelly?

BRAD
We're working on-

CLARK
-How the hell are you working
on it? You're standing here doing
absolutely nothing while my little
girl is out there in the hands of this psycho!

BRAD
(calm and professional)
Sir, calm down. I've got agents
out in the field looking for
your daughter right-

CLARK
-They're not working hard
enough! (beat) Am I just
suppose to sit here and do nothing?

BRAD
Let us handle this, sir.

CLARK
Do you know what it's like? (beat)
Not being able to protect your
own daughter? Not being able to
protect your loved ones? (beat)
You're not doing an efficient
job! If you were, Kelly
would be here right now!

BRAD
Sir, you called us in for help.
We're working around the clock
on this. Your daughter is the
Bureau's number one priority. (beat)
The best thing to do right now is to calm down.

Clark can't believe Brad is telling him to calm down.

CLARK
(mad)
Calm down?!-

MARTIN
(calm)
-Senator, I've handled several cases
like this. What we're waiting for is
a call from the man who abducted your
daughter. When he does call, he will
demand ransom money, or whatever he wants.
Your job is to keep him on the lone as
long as possible so we can pin point
his location and find Kelly.

CLARK
And if he doesn't call?

MARTIN
Then we'll-

Martin is interrupted by the phone ringing.

BRAD
(authoritative)
I need everyone to be quiet.

Brad turns to Clark.

BRAD
Sir, this could be it. Whatever
he wants, you agree. Just keep
him on the line as long as possible.

Senator Clark nods his head. He clears his throat and picks up the phone.

CLARK
Hello?

ELECTRONIC VOICE (FILTERED)
Good evening, Senator. Listen carefully
to what I have to say because I will
only say it once. (beat) Your daughter
is fine and will remain that way as long
as you follow my every word. Do you understand?

CLARK
Yes.

ELECTRONIC VOICE (FILTERED)
You will deliver three million dollars,
unmarked bills in a black suitcase to
the bus stop at 5th and Manning at exactly
0100 hours. (beat) If you fail to do so,
your daughter will be killed. Do you understand?

CLARK
I want to talk to her. I need
to be sure you're not lying to me.

ELECTRONIC VOICE (FILTERED)
If you are followed your daughter
will be killed. Do you understand?

CLARK
I need to hear her or you won't
see your money and I'll have
the feds all over you!

ELECTRONIC VOICE (FILTERED)
I'll see you at 0100 hours
at 5th and Manning if you ever
want to see your daughter again.

The line goes dead. Clark slams the phone down.

CLARK
This is total bull shit!

AGENT
We've got a location.

Brad comes over to the agent and looks at the monitor.

CLARK
Why should I believe a word
from that son of a bitch!?

BRAD
(to Clark)
We've got a location on
him. I'll notify my unit-

CLARK
Why waste time! If we know where
he is let's get the son of a bitch
and bring my little girl back home!

BRAD
Sir, we just can't-

Clark walks away from Brad. He's completely pissed. Brad lets out a sigh and gets out his cell phone and dials.

BRAD
(into phone)
Monica, it's Brad. (beat) We've
got a location. He's in your
area. Keep your eyes open…

CUT TO:

INT. BUCAR - 11:32P.M.

Monica hangs up her cell phone having just finished her conversation with Brad.

In the front seat, Scully is playfully reaching for Doggett's ear.

DOGGETT
(about to laugh)
Agent Scully, would you knock it off?

SCULLY
(flirt)
Johnny, let me touch it.

Monica can't believe what she's seeing. She watches as Scully moves closer to Doggett, giving him a seductive look. Doggett smiles back and suddenly Scully has hold of his ear and is pulling him to her. They both laugh. Monica on the other hand can't believe they are flirting while on a stakeout.

MONICA
Agents!

With a giggle, Scully looks back at her.

SCULLY
What? I was just-

MONICA
-There's been a break in the case.
He's demanded ransom. Brad says they
traced the call from a pay phone in
our area. He says to keep alert. (beat)
And please, in the name of all decency
of being a federal agent, stop flirting.

The car falls silent as they keep their eyes alter to the area.

As our heroic trio doesn't notice, a man in a hooded sweatshirt enters the building across the street… We follow him in…

CUT TO:

INT. BUILDING - CON'T

The Hooded Man makes his way up the stairs. Shadows concealing his identity. He opens a door on the second floor, apartment G.

INT. APARTMENT G - CON'T

All is dark. This dump isn't furnished. As he walks in, a young woman comes up to him.

WOMAN
Did you do it?

HOODED MAN
We'll be fuckin' millionaires
in a few hours.

The woman smiles at him and gives him a kiss.

HOODED MAN
Is that car still out front?

WOMAN
Yeah.

The man goes over to the window and peers out, not moving the curtains.

HOODED MAN
How's the girl?

WOMAN
(amused)
Crying for her mommy and daddy.

The woman laughs.

HOODED MAN
(smiles)
Too bad for her.

He looks over to a door that is shut. We linger on the door for a beat as we…

TIME CUT TO:

INT. BUCAR - 12:12A.M.

Our heroic trio is still keeping a look out.

DOGGETT
I see nothin'.

SCULLY
Me too.

Monica, in the back, keeps her attention on the building across the street. Movement in a second floor apartment catches her eyes. A dim light comes on and a slight silhouette of a man can be seen.

DOGGETT
Mon'? You see anything?

MONICA
(attention on window)
Yeah… building across the street.
A light just came on in a second
floor apartment. It's been dark until now.

Doggett and Scully look over at the building.

MONICA
My gut feeling is telling me
we should go check it out.

She looks at them to see if they are going to be behind her. They agree.

SCULLY
Should we call back up?

Monica doesn't hear her, she's on her way out of the car and is heading towards the building. Doggett and Scully quickly follow. Scully is dialing a number on her cell phone.

Monica is already at the door of the building as Doggett and Scully make their way across the street.

INT. BUILDING - CON'T

Monica makes her way in. The hallway is poorly lit. She quietly makes her way up stairs.

INT. SECOND FLOOR HALLWAY - CON'T - 12:14A.M.

Monica cautiously walks up to apartment G and listens. Crying can be heard from inside. Monica gets her gun out.

Doggett and Scully can be heard quietly making their way up the stairs.

The sound of a little girl's muffled scream can be heard from inside the apartment. Instinct sets in as Monica breaks through the door, right as a gun goes off! BANG!

INT. APARTMENT G - CON'T

Monica enters the apartment! Gun drawn and aimed at the Hooded Man!

MONICA
(commanding)
Federal Agent! Drop your weapon!

The Hooded Man instinctively opens fire at her just as Doggett and Scully arrive at the scene.

Without hesitation, Monica shoots the man, dropping him to the ground!

WOMAN
(freaking out)
Oh my god!

The woman makes a dash to the door to run off. Doggett immediately stops the woman, making sure she doesn't go any where.

SCULLY
(to Monica)
What happened?

Monica is in too much shot to even speak. Her eyes have fallen on the body of Kelly E. Clark… a little girl fallen to the ground, laying in a pool of her own blood. Scully follows her gaze and immediately goes over to the little girl. It's hopeless, she's gone…

SMALL TIME CUT TO:

INT. BUILDING - SECOND FLOOR HALLWAY - 12:20A.M.

Brad and his team have arrived at the scene. Kersh is walking the woman out of the apartment, having placed her under arrest for aiding in the kidnapping of Kelly E. Clark.

The apartment has been sealed up as they wait for a coroner to come.

Doggett and Scully stand next to each other near the staircase. Monica stands alone by a window in the hallway, watching as Kersh takes the woman to a police car.

Brad comes up the stairs. He looks at Doggett and Scully.

BRAD
(authoritative)
Don't go anywhere, agents.
I'll need to speak to you.

He doesn't even pause as he talks to them. He walks right over to Monica.

BRAD
Monica?

She turns away from the window. She's in shock, upset and feeling horrible about what just happened.

BRAD
Monica, I need you to tell
me exactly what happened.

Monica takes a deep breath as she tried to control her emotions.

MONICA
(trying to remain calm)
We were keeping an eye open after
I got the call from you. I noticed
a light go on in the apartment. My
gut feeling told me to check it out.

BRAD
Tell me why the light was
suspicious, Monica. I need
you to be as thorough as possible.

MONICA
It had been dark all night up
until then. (beat) It was around
midnight, it seemed unusual to me,
so my instinct told me to inspect it.
(beat) I quietly entered the building.
John and Dana followed me inside. I made
my way up the stairs. I heard a little
girl crying from inside the apartment. That's
when I drew my weapon. Then I heard muffled
screams from the little girl. Naturally, I
believed she was in danger of being hurt and
was in immediate danger.

Tears come to her eyes.

MONICA
Then… (holds back emotions) I then
entered the apartment and he opened
fired at me. I shot him in self-defense.

BRAD
When did Kelly get shot? Do you know?

Monica shakes her head "no".

MONICA
It all happened so quickly. Maybe
when I came in, maybe before… after…
I can't recall it that well. I didn't
even realize she was… (she can't say it)…
until after I shot the man down. (beat)
It's all my fault…

BRAD
You did your job, Monica.
This isn't our fault, ok?

Monica nods her head, even though she doesn't entirely believe him.

BRAD
Stay here, all right?

Monica nods as Brad heads over to Doggett and Scully.

BRAD
Agent Doggett, I need
to speak with you.

Brad heads down to the opposite end of the hall so Scully can't hear their conversation. Doggett follows.

Behindh im, the coroner comes up the stairs and enters the apartment.

DOGGETT
What do you need?

BRAD
Could you please tell
me what happened here tonight?

DOGGETT
Not a problem. (beat) Agent Reyes
told Agent Scully and I about the
break in the case. We kept our eyes
open and didn't see anything out of
place. That is until Agent Reyes pointed
out the light in the window that hadn't
been on before then all night. She then
decided to take action without calling for backup.

BRAD
At what point did you
enter the scene?

DOGGETT
Agent Scully and I were making our
way up the stairs when we started
hearing gun shots. We ran in just
as Agent Reyes took down the suspect.

BRAD
Is that all you know?

DOGGETT
Yeah. (beat) For all I know, Agent
Reyes was out of line on her decision
to burst in on the scene without proper
backup. I believe this could've been prevented.

BRAD
Thank you, Agent Doggett.

Brad walks away from Doggett and up to Scully.

BRAD
Agent Scully, may I speak
with you over here please?

SCULLY
Certainly.

Brad and Scully go to another area of the hallway.

BRAD
I don't know how much you know
about what happened here tonight,
but I need to know all that you know.

SCULLY
Ok. (beat) Monica got a gut feeling
to check this place out after she got
a call from you. Agent Doggett and I
followed her into the building. I called
in for backup as we approached the building.
By the time we were coming up the stairs,
she was already up there. (beat) I heard
a gun shot as Monica burst into the apartment.
Agent Doggett and I ran up the stairs. I
heard Monica shout "Federal agent. Drop
your weapon." Then I heard a gun shot as Agent
Doggett entered the apartment. When I got there,
Monica shot the man and took him down. (beat)
Agent Doggett stopped the woman in the apartment
So she wouldn't run off. (beat) I saw Monica and
Asked her what happened, however, she was in a
State of shock. I followed her stare and found
the little girl on the ground.

Scully takes a deep breath.

SCULLY
I went over to the little girl and
found that she had been shot point
blank to the head. (beat) I called
you and I secured the scene.

BRAD
That's exactly what happened?

SCULLY
That's exactly what I witnessed.

BRAD
Thank you.

Martin Fitzgerald comes running up the stairs.

MARTIN
Brad, the Senator's coming.
(beat) He's not happy.

Brad sees the seriousness in Martin.

BRAD
Shit.

He walks away from Scully. The Senator comes up the stairs. Upset wouldn't even begin to describe how he is. He's pissed like a bat out of Hell!

CLARK
(seeing Brad)
Who the hell is responsible
for this?! Which one of your
agents fucked it up?!

Clark looks around the room, seeing the reactions of everyone. Monica hits his eye. Her body language and the guilt she's put on her makes her his bulls eye.

BRAD
Sir, just calm down-

Brad is cut off by the Senator pushing past him and heading straight towards Monica.

CLARK
(to Monica)
Did you do this? Did you kill her?!

MONICA
(in shock)
I-

CLARK
(he could kill her)
-You killed her! Does the value
of a life mean nothing to you?!

Monica is speechless.

CLARK
You bitch! You're not fit
to be a federal agent!

He's disgusted with her.

MONICA
I didn't-

She's cut off by him when he pushes her violently and angrily into the wall. Brad and Martin run up and pull him away from her.

BRAD
(anger)
Back off Senator!

CLARK
That bitch killed-

BRAD
(authoritative/anger)
-Calm down unless you want a
law suit against you for
assaulting a federal agent.

CLARK
(pissed)
That woman is not fit
to be a federal agent!

Brad ignores him.

BRAD
(to Martin/anger in his voice)
He has no business being
Here. Kindly escort him out.

MARTIN
(nods head)
Come on, Mr. Senator.

Martin leads Senator Clark away.

Brad turns to Monica. She's even more upset no than she was before.

BRAD
Are you all right?

Monica nods her head and looks away from him.

BRAD
(stern/worried)
Monica. Look at me.

She doesn't.

BRAD
Monica?

He tilts his head to look at her in the eyes.

BRAD
(softly)
Talk to me, Moni.
(beat) Are you hurt?

Monica doesn't answer him. Her eyes well up with tears. Brad takes her into his arms to comfort her.

BRAD
(softly)
It's not your fault.

Monica doesn't comment. Her only response is to hold onto Brad tighter and cry.

CUT TO:

INT. INTERROGATION ROOM - 1:30A.M.

The woman from the apartment sits at a table alone in the room.

We are at the POV of behind the glass mirror. Kersh is watching the woman. Brad comes in.

KERSH
Is Agent Reyes at home?

BRAD
Yes.

KERSH
Good. (beat) Senator
Clark spoke to the press.

Brad looks over with concern, only knowing this can't be a good thing.

KERSH (CON'T)
He's put complete blame on Agent
Reyes. (beat) He leaked out her
name to the press, saying she's
the one responsible.

BRAD
(feeling the stress)
Dammit.

KERSH
This looks extraordinarily
bad for the Bureau.

Brad nods in agreement.

KERSH (CON'T)
And as you know, the Bureau
has to approach this and take action.

Brad looks over at him, afraid to know where he's going with this.

KERSH (CON'T)
Especially now that the press
knows. (beat) This was an
important case, Assistant Director.

Kersh looks over at Brad as if he's accusing him of mucking it up.

BRAD
What exactly are you saying, sir?

KERSH
Agent Reyes is looking at termination.

BRAD
She's a good agent, sir. One
of the best we have. (beat) She
followed her instinct and tried
her best to protect that little girl.

Kersh looks at him, piercingly starring him down.

KERSH
Did she?

Brad looks over at him, shocked he would think that Monica wouldn't do her best to protect Kelly E. Clark.

The door to the interrogation room opens and Special Agent Martin Fitzgerald enters.

We fade into the interrogation room.

INT. INTERROGATION ROOM - CON'T

Martin sits across from the woman. By this time, they have learned that her name is Amber Weiss.

MARTIN
(very casual)
I'm Special Agent Martin Fitzgerald.

He pulls out his FBI badge to let her see for herself.

MARTIN
I'm sure you know why you are
here today, but I'll go ahead
and state it for the record. I'll
be asking you a few questions
about the little girl who got
shot tonight in your boyfriends apartment.

Amber sits there, not sure what to think of his friendly manner.

MARTIN
The Constitution requires that I inform
you that you have the right to remain
silent. Anything you say can and will
be used against you in court. You have
the right to talk to a lawyer and have
him or her present here tonight, or at
anytime during questioning. If you cannot
afford a lawyer, one will be appointed
for you without cost. (beat) Do you
understand the rights I have explained to you?

AMBER
Yes.

MARTIN
Do you wish to talk to me at this time?

AMBER
Yes.

Martin gives her a friendly smile.

MARTIN
Thank you for your cooperation.

He pulls out a piece of paper.

MARTIN
If you could read and sign this
so we know you completely
understand your rights, that
would be helpful.

Amber takes the paper and pen. She reads her rights and signs the paper. She hands it back to Martin.

MARTIN
Thank you.

AMBER
Can I have some water?

She indicates a water jug behind him.

MARTIN
Certainly.

He gets up and gets her water.

MARTIN
Sometimes these rooms can get dry.

Amber nods.

MARTIN
Amber, you're a good person. Good
family background, and excellent
education, so I know you know
how important it is to get your life
back on the right track. (beat) Could
you tell me how Kelly Clark found
her way into your boyfriends apartment?

AMBER
Jason, my boyfriend, he took her.

Martin listens.

AMBER
If I would've known he was going
to do this, I would've called the police.

MARTIN
Why didn't you?

Amber shifts in her seat and nervously moves a strand of hair back into it's place behind her ear.

AMBER
He threatened me. With a gun. (beat)
You know, Jason was in the Marines,
he knows how those things work. I
had no choice but to do what he said.

Martin writes something in his notebook.

AMBER
(nervous)
What are you writing?

MARTIN
Just taking a few notes.

He gives her a friendly smile.

MARTIN
Did Jason ever strike Kelly?

AMBER
You mean hit her?

Martin nods.

AMBER
No. Never.

MARTIN
So you never left her alone with him?

AMBER
(shaking head)
No.

MARTIN
Then you would be able to
tell me how she got several
bruises on her face and arm, right?

AMBER
Right. (beat) I mean… I…

Martin caught her in a lie.

MARTIN
Amber, all I want is the truth. (beat)
If your intent is to lie to me today,
the court will examine that when
determining your sentence. (beat)
All we want is the truth.

There is a beat before Amber continues.

AMBER
He hit her. (beat) He didn't want
to, but she was being difficult.

MARTIN
Is that why he killed her?
She was being difficult?

AMBER
(defensive)
He wasn't going to kill her. He
was on his way to give her back,
collect his millions and get away
from here when the FBI burst in! He
didn't mean to kill her. He freaked
and accidentally pulled the trigger!

Martin takes note of her defense and anger. He waits a beat for her to calm down.

MARTIN
Were you aware that Jason had
been calling Senator Clark for
a whole month before this happened?

AMBER
Yes.

MARTIN
Why was he calling him?

AMBER
Because that rat bastard is the
reason Jason's life went downhill.

MARTIN
Downhill?

AMBER
He got Jason kicked out of the Marines.

MARTIN
For what?

AMBER
I don't know!

Martin nods his head and writes something down, giving Amber some time to calm down again.

AMBER
Listen, I admit I knew about this,
but I had not choice. If you want,
I'll write out everything I know for you.

MARTIN
That would be more than helpful, Amber.
Thank you. (beat) I'll go get the papers.

Amber nods, but is getting irritated with this official crap and wants to go home.

Martin leaves the room.

INT. INTERROGATION VIEWING ROOM

Kersh and Brad were watching the interrogation. Martin comes in.

MARTIN
You want to know what I think?

BRAD
She's not telling the truth.

MARTIN
She knew about it, she doesn't
have remorse for what happened.

BRAD
You think she thought she'd
run away with him?

MARTIN
Yeah.

KERSH
She thinks she'll get away with this.

MARTIN
Better get her confession.

Martin grabs some papers and re-enters the interrogation room.

CUT TO:

INT. SCULLY/MARITA/MONICA'S APARTMENT - 2:30A.M.

Not being able to sleep, Scully is watching the new coverage of the events that went down. A re-cap of Senator Clark's press conference is on right now as he puts all blame and responsibility on Monica.

The phone rings and Dana quickly answers it so Marita doesn't wake up.

SCULLY
Hello?

She doesn't recognize the man's voice on the other end, but it is that of Antonio Reyes.

ANTONIO (FILTERED)
Hi, uh… is Monica there?

SCULLY
No she's not, she's at her
boyfriends apartment.

ANTONIO (FILTERED)
Oh. (beat) What's the phone number there?

SCULLY
May I ask who's calling?

ANTONIO (FILTERED)
This is Antonio Reyes, I'm her
older brother. (beat) I just
wanted to check on her. I saw
what happened on the news.

SCULLY
Oh… ok. She can be reached at 555-3859.

ANTONIO (FILTERED)
Thank you. (beat) I'm sorry
if I woke you up or something.

SCULLY
No, you didn't.

ANTONIO (FILTERED)
All right. Goodbye.

SCULY
Bye-bye.

She hangs up the phone.

CUT TO:

INT. BRAD FOLLMER'S APARTMENT - 3:15A.M.

Brad comes in, finally done for the moment. All the lights are off and the apartment is quiet. Brad throws his jacket onto the couch. He notices a red light blinking on his answering machine. He hits the "play" button and a message from Antonio comes on.

ANTONIO (ON MACHINE)
Uh, Monica, it's Antonio. A friend
of yours told me I could reach you
here. (beat) You're probably sleeping,
but I was just calling to see if you
were ok. I saw on the new what happened.
(beat) If you get a chance, call me back.
It's been a while since I've heard from you. Bye.

The machine beeps, indicating the end of Antonio's message.

Brad heads to the bedroom, quietly opening the door and entering.

Monica is asleep, but not a peaceful one. She's troubled about what happened earlier and can't even escape it in her sleep.

Exhausted, Brad slips off his shoes and crawls into bed, still wearing his suit. He puts his arm around Monica in the hopes of comforting her. Even though he's exhausted, he's troubled and worried about Monica. He won't get much sleep.

FADE OUT:
FADE IN:

INT. THE DIRECTOR'S OFFICE - FBI HEADQUARTERS - 8:06A.M.

The Director (a young and feisty woman) sits at her desk. Across from her is Deputy Director Alvin Kersh, Assistant Director Walter Skinner, and Senator Bob Clark.

DIRECTOR
(sounds as if she's said this millions of times)
Mr. Senator, as you know the Bureau
will take action against Agent Reyes.
OPR has always, and will continue to
review the actions our agents take.

CLARK
An agent that was out of control
like that shouldn't be part of the FBI.

DIRECTOR
I completely understand sir, and
I can assure you that this matter
Will be taken care of.

CLARK
Thank you.

DIRECTOR
Now, I will need you to step
outside as I discuss this
with my colleagues.

Clark nods his head, satisfied that he's being listened to and that the Bureau will take action against Monica. The Senator leaves.

The Director waits a beat before speaking.

DIRECTOR
This is extremely bad for the FBI. It
is my opinion that Agent Reyes did what
she thought was right. Indeed, I believe
if I were her I would've done the same.
(beat) Yes, a child's life was lost, but
we have one of the suspects in custody. (beat)
And now, because of the Senator, the public
believes that we are the enemy. We will have
to punish Ms. Reyes so our image can be
restored. (beat) Alvin, get on the phone and
call her to my office.

KERSH
Yes, ma'am.

Kersh gets up and leaves.

DIRECTOR
Walter, you're just here because
you are her superior and your
presence will acknowledge the
seriousness of this situation.
(beat) Now, stop using the petty
cash to have your secretary buy
you Rogain. It won't work anyway.

Skinner looks guilty and doesn't know what to say.

CUT TO:

INT. FBI BASEMENT - 8:30A.M.

The elevator DINGS open and Doggett steps out. He stops immediately when he sees Mulder and Krycek replacing the name plate on the door to the Janitor's Lounge from saying "Janitor's Lounge" to "Agent's Lounge".

Doggett passes them without incident.

MULDER
Ha! Now the Janitor can't
kick us out anymore!

KRYCEK
Yeah, because it's now the "Agent's Lounge"!

Mulder and Krycek both laugh at how "smart" their plan is.

The Janitor comes up to them. Mulder and Krycek stop laughing and give him their "we're better than you" look.

JANITOR
(re: door name plate)
Hmm.

He takes the word "agent" off of the name plate and the word "janitor" is uncovered.

Mulder and Krycek stop smiling and give each other a look. They can't believe the Janitor just out smarted them.

The Janitor smiles at them and opens the door.

JANITOR
Have a nice day.

He slams the door on their faces, leaving them defeated in the hallway.

CUT TO:

INT. THE DIRECTOR'S OUTER OFFICE - 9:00A.M.

Monica nervously waits for the Director to speak with her. The only sound heard is the second hand of a clock ticking away.

The Director's secretary is writing at her desk. A beeping noise interrupts the silence. The secretary looks at something on her desk, then over to Monica.

SECRETARY
Agent Reyes, the Director will see you now.

Monica nods her head and goes over to the door.

INT. THE DIRECTOR'S OFFICE - CON'T

Monica enters. The office has grown in it's seriousness. The Director sits at her desk with Kersh and Skinner standing on both sides of her, as if she were the all mighty and powerful queen bee.

MONICA
(nervous and can't hide it)
Ma'am?

DIRECTOR
Have a seat please.

Monica sits down in front of the Director.

DIRECTOR
I've called you here today because
of your actions last night.

She pauses, allowing more tension in the room.

DIRECTOR
Even though all of us here today
would have done the same thing,
Senator Clark has reported that
you were out of line and are to
blame for the murder of his daughter.
That's a bad image for the FBI,
Ms. Reyes. (beat) And as you know,
my duties as the Director are to
protect the Bureau from a bad reputation.

Monica looks down, feeling the end of her career.

DIRECTOR
Naturally, the public expects me
to take appropriate action against
you. (beat) You are under suspension
for one month without pay.

Monica looks up at her, a sign of relief that she still has her job.

DIRECTOR
Off the record, I think you took
correct action on the situation.
You trusted your instincts. Now
we have one of the suspects in
custody. (beat) You're a good
agent, Ms. Reyes. I hope you
can understand why I must take
action against you.

Monica can't believe that the Bureau isn't protecting their agents, but won't argue against it, she still has her job.

MONICA
Yes, ma'am.

DIRECTOR
Good. (beat) I'll need to have our
weapon and ID. Security will escort
you out of the building.

Monica nods her head, she's not entirely sure what to think about this. All she knows is that she still has a job. She hands over her FBI badge and weapon.

DIRECTOR
Thank you for your understanding.
(beat) Security is outside.

Monica turns and heads to the door and leaves.

TIME CUT TO:

INT. DEPUTY DIRECTOR ALVIN KERSH'S OFFICE - 10:30A.M.

Kersh is busy signing documents. His door opens and Brad comes in, startling Kersh.

BRAD
(not happy)
Why is the Director refusing
to speak to me?

KERSH
Assistant Director, you can't
just barge in here.

Brad shuts the door.

BRAD
(mad)
You're the next one in line
I can talk to about this.

KERSH
Mr. Follmer, I don't have time.
Agents Doggett and Scully are on
their way up.

BRAD
Why is everyone ignoring the
fact that Senator Clark
assaulted Agent Reyes?

KERSH
I thought I told you not
to get personally involved with-

BRAD
-She's got one hell of a
bruise on her back from when
he violently hit her into a
wall. I've got witnesses to
this and no one seems to care.

KERSH
(warning)
Brad, you don't want-

BRAD
(he's not going to take this)
-Agent Fitzgerald, Agent Doggett,
Agent Scully, they all saw it happen.

KERSH
(warning/getting mad)
Assistant Director, some things
are better left alone.

Kersh intensely stares him down, a way of warning him not to go there.

The silence is interrupted by Judy coming over the intercom.

JUDY (FILTERED)
Sir, Agents Doggett and
Scully are here.

KERSH
Thank you, Judy.

Kersh looks to Brad.

KERSH
(stern)
You can leave now, Mr. Follmer.

Brad glares at him and angrily opens the door and walks past Doggett and Scully.

Doggett and Scully enter Kersh's office.

DOGGETT
Sir?

KERSH
Have a seat agents.

They sit.

KERSH
The Director wanted me to tell
you that you both have been given
a two week paid vacation until the
incidents of last night cool down
with the press.

SCULLY
(in shock)
We're being given a vacation?

KERSH
Yes. (beat) You can leave today
or tomorrow, just be back in two weeks.

This is an odd thing, but ok!

KERSH
Agent Scully, you are dismissed.
(beat) John, I need to speak
with you for one moment.

Doggett nods his head and Scully leaves.

KERSH
John, I know you take these cases
personally, and I can completely
understand that. (beat) I just want
you to understand that we have looked
over Agent Reyes' actions. She did
the right thing, John. The little girl
was shot before Agent Reyes entered the
apartment. (beat) I don't want you
thinking she didn't do her job. We got them.

Doggett nods.

DOGGETT
I take it you heard my
versions of events.

KERSH
Yes I have. (beat) And I
know because of your personal
experience that you tend to
take the side of "the father".

Doggett nods.

KERSH
Enjoy your vacation, John.
I'll see you in two weeks.

DOGGETT
Thank you, sir.

Doggett gets up and leaves Kersh's office.

TIME CUT TO:

INT. BRAD FOLLMER'S APARTMENT - 5:45P.M.

Monica is curled up on the couch watching "The Brady Bunch" when Brad comes home from work. He can tell she's been crying.

BRAD
You ok?

MONICA
I got suspended for a month.

BRAD
I heard.

He sits down next to her and puts his arm around her. He gives her a kiss on the cheek.

MONICA
The worse thing is… I didn't
do anything wrong. The Director
even said she would've done the
same thing. (beat) And I get punished
because some Senator decides-

BRAD
-That man is a jackass, ok?
He doesn't understand that we
go the bad guys. (beat) You're
a good agent.

They sit in silence for a beat.

BRAD
How's your back?

MONICA
It hurts. (beat) I guess
that doesn't matter to the
Bureau either, does it?

BRAD
Kersh told me "not to go there".

Monica rolls her eyes. This upsets her that the Bureau won't even protect their own agents.

MONICA
Everyone's going to look
down on me, aren't they?

BRAD
I hope not.

MONICA
I'm going to go down to
my Grandmama's for a while.
(beat) Just to clear things
up for me, ya know?

Brad nods his head. He knows her Grandmama always makes her feel better.

MONICA
John and Dana got a two
week vacation, so I thought
I'd bring them too since they
won't be busy up here. (beat)
I wish I could bring you, but-

BRAD
-I've got this case…

MONICA
Yeah. (beat) I know she
really wants to meet you.

BRAD
And I want to meet her. (beat)
You're brother Antonio called
here earlier this morning.

Monica looks at him, she wasn't expecting that.

BRAD
He was just checking in with
you to see if you were ok.

MONICA
You talked to him?

BRAD
No, I wasn't home. (beat)
You might want to call
him back. He seemed worried.

Monica nods her head. Brad gets up off the couch.

BRAD
Hungry?

MONICA
Yeah, a little.

BRAD
I'll go make you something, ok?

Monica nods her head and he goes into the kitchen. She looks at the phone wondering if she should return his call. As she reaches over to the phone and dials, we…

FADE OUT:

THE END.

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