"Fox & Rat" Virtual Series - Season Eight

 

Review By: Gothic Spook

"Big teddy bear…" Monica

Welcome one and all to the season premier of season 8 of "Fox & Rat" Virtual Series! Woohoo!

Luke Doggett ... new clues ... new bad guys involved and a lot of heartache for John! *gives John a tissue and cuddle* The Janitor gets his hands on Krycek's ... beauty ... more specifically ... his eyebrow!

Find out why Scully and Reyes are hanging from a window edge! And how does a giant teddy bear save their lives? A garbage man leads to more than a trip to the hospital for all the agents!

 

8x01 "The Last Heart"

Title: "The Last Heart"
Written by: Cassie
Date: February 7, 2005; April 4-5, 2005; May 25, 2005; June 1-3, 2005 June 13, 2005
Air Date: September 5, 2005
Rating: R (sensitive material, language)
Series: FRVS - Episode #149
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: While searching a mobster apartment, Scully and Reyes stumble upon a clue that leads to an old case of Mulder’s and may have a link to the mystery behind Luke Doggett’s murder.

WARNING: The case file of this episode deals with child rape and molestation. You have been warned.


FADE IN:

EXT. ALLY IN BETWEEN TWO TALL BUILDINGS – DAY
MAY 31, 2005 - TUESDAY

The ally is empty of human interactivity. The wind blows a few pieces of loose paper across the ground. Slowly, we begin to look up in between the two buildings. We see that two people dressed all in black are hanging from the bottom of a balcony. At first glance you might think that this is a situation that Mulder and Krycek have gotten themselves into. However as we get closer to the subjects hanging, underneath the balcony, we see that it is not Mulder and Krycek, but Dana Scully and Monica Reyes. It looks like they’ve been hanging here, from their hands, for a long enough time.

SCULLY
I swear, Monica, the next
time you say you know how
to get out of a building without
being caught, we’re not doing
it. The Reyes Way does not save
the day. My strength is giving in,
my hands hurt, and seriously I think
when we actually have to fall down
five stories, we’re going to be hospitalized.

Monica looks down below them, as if she’s waiting for something to happen. She sighs.

MONICA
Dana, I told you to trust
me, didn’t I? I know what
I’m doing.

Scully sarcastically chuckles. She’s not happy about this current Monica Reyes situation.

Scully’s thoughts: I mean, Jesus, at least if those men had caught us we may have a chance at living, but no-oooooo Monica wanted to rush out the window and dangle five stories above concrete. We’re going to die.

MONICA
We’re not going to die.

Scully gives her a look.

SCULLY
Monica really, if you can
block reading my thoughts
I’d appreciate it. I have no
sense of privacy around you anymo-

Suddenly lets out a quiet scream as she struggles to keep her grasp on the wooden plank of the balcony she is holding on to.

SCULLY
Ow! Damn splinter.

MONICA
If you don’t shut up
they’re going to find us.

SCULLY
What you can hear their
thoughts too?

MONICA
(sighs)
No. They’ll hear where
we are and come out here
and eliminate us as a problem.

SCULLY
It’s not our fault they’re
dealing with the mob and
making people disappear.

MONICA
I know, but I don’t think
we want them to catch us.
We’re much better off out here.

SCULLY
Yeah, until we fall and die.
(beat) You know, John better
find some kind of psychic
ability in himself and get his
butt out here to save us.

MONICA
There’s no need for that.

SCULLY
How do you figure?

MONICA
The building across the way,
that’s an orphanage.

SCULLY
So? What? Are kids
going to come to our rescue?

MONICA
(closes eyes)
Big teddy bear…

Scully cocks an eyebrow. What the hell does that mean?

MONICA
Drop!

SCULLY
What?!

Monica reaches out and grabs Scully’s arm with one hand and tugs at it.

MONICA
Drop now or die later!

Monica gives one big tug on Scully’s arm to release her grip on the balcony plank. The two of them fall five stories down and land on top of a large teddy bear stuffed animal that has been put into a garbage truck. The truck is moving, driving out of the ally. Good thing Mulder and Brad gave this teddy bear to the orphanage, otherwise the FBI would be picking up Dana and Monica’s remains with a spatula. Guess everything does happen for a reason after all.

Scully sits up, rubbing her upper right arm.

MONICA
You all right?

SCULLY
I hit my arm on the
side of the truck on
the way down.

Scully turns so Monica can see where on her arm it hurts. The black jacket sleeve is torn and Monica can see that Scully is bleeding.

MONICA
You’re bleeding. We
need to get you to a
hospital.

Scully twists around herself to better view her arm. Sure enough, she’s bleeding. Her eyes go wide.

SCULLY
It tore through two layers
of clothing! This is my
new jacket!

MONICA
Dana, you shouldn’t hold
such attachment for
materialistic things.
It’s only a jacket, I’m sure
John will buy you a new one.

SCULLY
You’re sure, or you know he will?

Monica gives Scully a sly smile. She looks in the direction of where the driver is.

MONICA
At the next stop light
I’m going to hop out and
ask the driver to take us
to the nearest hospital.

SCULLY
Yeah, I’ll do that too.
It smells in here.

MONICA
That would be leftover
food from the orphanage.

Scully’s nose wrinkles up with disgust.

SCULLY
Those poor kids…
I should consider adopting
someday, save the taste buds
of a child.

Since I made the decision to not activate that chip in my neck so I could one day conceive a child…

She’s bitter at herself for that decision. She so badly wishes to have a family of her own one day. When she’s ready.

Monica heard her thoughts.

MONICA
Why adopt?

She’s trying to pretend that she hadn’t read Scully’s mind.

SCULLY
Those children have no family.
I think I’d make a good mother,
and if I can help a life by
giving a child stability and love, why not?

MONICA
You and John
will be great parents one day.

Monica smiles. A smile that suggests that she knows something more than she’s saying.

The garbage truck comes to a stop. Monica and Scully quickly climb out of the back and approach the driver side. Scully pulls out her FBI credentials. Monica knocks on the window, and Scully holds her credentials up for the driver to see. The driver rolls down his window.

DRIVER
(a bit nervous)
Have I done something wrong?

Monica’s eyes widen as she feels and knows that this man really, really enjoys his trips to the orphanage. She says nothing, knowing that now she wants to find proof that this man is a pedophile, which her gift is telling her that he is.

SCULLY
No, you’ve done nothing wrong.
We sort of fell into the back
of your truck and need to have
you drop us off at the nearest
hospital.

DRIVER
(relieved)
Sure, hop on in, that’s
not a problem for me.

Scully puts her credentials away and she and Monica walk in front of the garbage truck to get in on the passenger side.

MONICA
(whisper)
He’s a pedophile.

Scully looks at her with a bit of disbelief, only she knows better because she is aware of Monica’s ability, and she knows that Monica would not make something up like this.

MONICA
Look, we can forget about
the mob goons and focus on
this guy. The mob always
gets away anyway, and if we
go back to the-

SCULLY
- Monica, we were assigned
the mob case. We need to let
A.D. Follmer know we found
nothing that suggests that
these guys were using a portal
to quickly move from one side
of D.C. to another in a matter
of minutes.

Scully wants to remain focused on the case at hand.

Scully opens the passenger door and climbs up into the truck, sitting in the middle. She smiles at the driver, and he smiles back in a way that makes her uncomfortable, an uneasiness that makes her feel like a vulnerable child. Monica sits next to her and shuts the door.

The light goes green and the driver starts driving to the nearest hospital.

Scully notices a picture of a few kids on the dashboard.

SCULLY
Cute kids. Are they yours?

DRIVER
The little girl wearing
the ballet tutu is my daughter.
The others are some of her friends.

Monica elbows Scully on her wounded arm. Scully flinches and quickly places her other hand on the wound. That hurt.

After a few minutes the driver stops in front of the hospital entrance. Monica gets out of the truck.

SCULLY
Could we have your name, sir,
so that the Bureau can let
your supervisor know that
your time is accounted for?

DRIVER
Michael Barker.

SCULLY
Thank you for the ride,
Mr. Barker.

Scully hands him one of her FBI business cards.

SCULLY
If your supervisor has
any questions about you
running late on your
schedule, have him call
my office and I’ll vouch for you.

MICHAEL BARKER
(reading card)
You have a fine day, Agent Scully.

He winks at her and smiles. Scully gives him an uncomfortable smile back.

Scully gets out of the truck and it drives away. She reaches into her jacket and pulls out her cell phone. She dials.

MONICA
Why are you calling John?

Scully gives her a look that explains it all: to tell him to look into Michael Barker.

MONICA
I think we should get you
looked at, you don’t want
to get Tetanus.

As Scully waits for Doggett to answer his phone, she and Monica walk into the hospital.

CUT TO:

INT. DOGGETT / REYES OFFICE – X-FILES DIVISION – FBI

Doggett and Mulder are sitting alone in the office, looking over information on the mob goons that Monica and Dana are out in the field investigating. It’s obvious to us that Doggett is not happy with having to sit in the office instead of being out in the field with Monica and Dana. They’re both – in his mind – fresh out of the FBI Training Academy and he feels he and Mulder should have been assigned to do the search-but-no-touch investigation that their warrant allowed them. However, Brad felt that it was important to let the two of them work together to regain their confidence so John bit his tongue and let the boss run things.

MULDER
I sure hope that Agents
Scully and Reyes find
something. Despite what
the evidence says about
these guys being at the
scene of the crime at the time
of death, them showing up
across town at the same time
of death that the M.E. predicted,
with over a dozen witnesses,
does nothing to help us obtain
an arrest warrant for the murders.

DOGGETT
(worried)
I can’t believe that Brad
assigned them to that type
of work in the field.

MULDER
With Monica and her newfound
abilities, I’m sure if these
men were to return, she’d know
way ahead of time.

Mulder smiles, having full confidence in Monica’s psychic ability (which John continues to try to ignore is true).

Doggett’s cell phone rings. He picks it up and sees that it is Scully. He answers.

DOGGETT
Dana? Are you guys ok?

SCULLY
(muffled)
I got one hell of a gash
in my right arm, and a
few splinters in my
fingers, but other than
that I’m fine.

DOGGETT
What? How’d that happen?

SCULLY
(muffled)
Fly and his goons showed
up and heard Mon’ and I.
We had to hang off a balcony
so not to get found.

DOGGETT
Did they have you before that?
(beat, panicked)
Did they gash your arm?

SCULLY
(muffled)
No, the garbage truck did.

DOGGETT
(confused)
Garbage truck?

SCULLY
(muffled)
I’ll explain later. I need
you to look into something
for Mon’ and I.

DOGGETT
What’s that?

SCULLY
(muffled)
Ow! Shit that hurt!

John’s eyes go wide, thinking that maybe Scully is trying to signal to him that she and Monica are in danger with the mob goons. He stands up unknowingly.

SCULLY
(muffled)
Sorry John, I’m
not talking to you.
Doctor’s doing stitches.

DOGGETT
(dead serious)
Are you and Monica in any
danger? If you can’t say
anything that suggests
that I just asked you that, don’t
say anything at all.

Scully starts laughing at the other end of the phone. He hears her cover the mouth piece of her cell phone and speak to Monica: “John thinks that we’re in danger, Mon’.” Doggett lets out a sigh of relief, if she’s saying that out-loud, they are not in any trouble.

SCULLY
(muffled)
We’re all right, John.

DOGGETT
So what do you need me to
look into?

SCULLY
A man named Michael Barker.

Doggett jots the name down on a pad of paper.

DOGGETT
Michael Barker… sounds familiar.

In the background of Scully’s phone, Doggett hears Monica gasp.

SCULLY
John… Mon’ needs to speak with you.

DOGGETT
Ok.

MONICA
(muffled)
Michael Barker. Robert Harvey.
See the connection?

Doggett tenses up upon hearing the name Robert Harvey.

DOGGETT
(remembering)
Yeah… he was a suspect in
Luke’s case. What does
this Barker have to…

His words trail off as he remembers that the name Michael Barker came up a few times in Monica’s interrogations of Harvey back in 1993. Barker was Harvey’s alibi. The man who confirmed that he and Harvey were nowhere near Long Island on the day Luke disappeared.

MONICA
Barker, he’s a pedophile, John.
I saw it in his soul. He drives
a garbage truck that makes stops
at children’s orphanages. We need
to get him off the street.

Doggett is quiet for a beat.

DOGGETT
(hesitant)
What if… what if looking
into this guy leads us to
a new lead in Luke’s case.

Doggett chokes back tears as he thinks about his son.

Monica hesitates to answer him, knowing very well where checking into this case could lead them. She also knows that Barker did not hurt Luke. Barker prefers little girls.

MONICA
(muffled)
John, why don’t you check
up on him. If I remember
correctly, he is a registered
sexual predator. If he’s breaking
the terms of his release by
being near those kids at the
orphanage, we may be able to
investigate him more and convict
him of child rape again.

DOGGETT
Sure. Mulder and I will look into
it. (beat) Is Dana going to be all right?

Doggett asks this with heartfelt concern. It worries him that he is not with Dana now that she’s been hurt.

MONICA
Doctor gave her a tetnus
shot and stitched her up.
Other than a scab and some
bruising she’ll be all right.

Doggett can almost feel Monica’s warm smile through the phone.

DOGGETT
You two get back here
as soon as you can. And
be careful, we haven’t seen
Krycek all day. Mulder thinks
that he’s up to something.

MONICA
Ok. See you later.

Monica hangs up Scully’s phone.

Doggett places his phone down on his desk, he looks at Mulder.

DOGGETT
Looks like Dana and Monica
have assigned us a little
side project.

Off of Mulder’s intrigued look…

CUT TO:

EXT. INTERROGATION ROOM – 5:30 P.M.

Doggett and Mulder are walking down the hallway at the Washington D.C. Police Department. A few hours ago, they were checking up on Michael Barker, and discovered that he has been violating the terms of his parole.

MULDER
So this guy may know more about
your son’s disappearance and murder?

DOGGETT
He was the alibi for our main suspect.
After he cleared Harvey’s name, the case
went cold. Nothing new has ever come up.
No new leads, nothing. That’s the one thing
that bothers me most about the case, that
Harvey called in the location of my son’s
body, which was found in the middle of nowhere.
He gave no explanation on how or why he was
out in that field, so Monica saw that as enough
to name him as our suspect. Only his alibi…
Michael Barker claims they were far from Long
Island the day Luke was kidnapped.

Mulder and Doggett stop walking once inside the Observation Room. They look through the window at Barker. He’s sitting at a table, facing the two-way mirror.

MULDER
Are you ready to go in there?

Doggett nods his head.

DOGGETT
Let’s do this.

They open the door and enter the Interrogation Room. Mulder takes a seat across the table from Barker, John stands behind him in the corner in the room, eyeing Barker with intensity.

MULDER
I’m agent Mulder and this is agent
Doggett. Have you been informed of
the reasons you were brought here today?

BARKER
Yes, violation of my parole.

MULDER
That’s correct.

Barker looks at Doggett, recognizing his name.

MULDER
Your parole officer informed us that
you’ve been read your rights, and have
signed the paperwork affirming this. In
which case I’d like to remind you before
I get started that you are allowed counsel
if you so desire. (beat) You can stop
questioning at any time if you wish to receive counsel.

BARKER
That won’t be necessary. I’ve
got nothing to hide.

MULDER
Photographs of young girls were found
inside the garbage truck you drive.
You told one of our agents that one girl
was your daughter. Though, looking at your
file, it says that you have no children.
Would you mind explaining to us why
you said that?

BARKER
I lied. Thought they were on to
me. I didn’t want to get caught.

Doggett steps forward.

DOGGETT
Caught doing what? Hurting little girls?

Barker looks John in the eye, a smirk forms on his face.

BARKER
Checking out the orphanage to see if
any little girl is to my liking. Feels
like forever since I’ve felt one of their
little bodies squirm below mine.

This remark furrows itself through John’s flesh, angering him.

MULDER
Who are the girls in the pictures?

BARKER
C’mon, you’re FBI. You tell me.

DOGGETT
All we’re trying to find out here,
Mr. Barker, is if you’ve raped any
other girls since you’ve been out on parole.

Barker takes a deep breath and sighs.

BARKER
Look, I told you. All I did was take
a look, you can’t convict me of child
molestation if I haven’t yet committed a
crime (beat) Look, I’ll go back to that
frickin’ halfway house, and stay away if
that’s what you want me to do.

Doggett and Mulder share a look.

DOGGETT
Robert Harvey…

Barker looks in John’s direction.

BARKER
What about him?

DOGGETT
What’s it been now, twelve years
since the disappearance of a little
boy from Long Island, New York?

BARKER
(realizing)
Oh, ok, Doggett. That’s where I know
your name from. You all thought Bob
took your son, right?

DOGGETT
That’s correct, and because of your
statement that placed Harvey with you
in Salt Lake City on the day of disappearance,
the case remains unsolved. (beat) Right now,
you’re the only lead we’ve got.

BARKER
I got paid to lie for him.

MULDER
Paid by whom?

BARKER
Can’t say I remember who, it’s been
so damn long. Harvey would know, he
did business with the guy.

DOGGETT
And where can we find Harvey?

BARKER
Last I heard, he moved his tight ass
down to New Orleans.

Doggett gives Mulder a look. Mulder stands up to exit the room to go look into Harvey’s location. The door closes.

BARKER
So you gonna let me go? I’m sure
my P.O. wants to bite my head off.

Doggett sits down across the table from him. He pushes paper and pen toward him.

DOGGETT
I need you to write out your
official statement that you were
paid to lie for Harvey back in ’93.

BARKER
Not a problem. It’s not like they’re
still paying me to keep my mouth shut today.

Barker picks up the pen and starts writing down his statement on paper, admitting that he is not a valid alibi for Robert Harvey on the day of Luke’s disappearance.

CUT TO:

INT. FBI FORENSIC LAB – 6:15 P.M.
HOLDING GARAGE

Upon returning to the FBI after patching Scully up at the hospital, Brad assigned Scully and Monica to searching Barker’s garbage truck for any forensic evidence that he’s recently committed crimes against young girls.

Monica is in the back of the truck, sifting through garbage, and Scully is up front.

MONICA
You know Dana, now I wish I had hurt
myself, that way I wouldn’t be the one
going through all this… eww! Ok, gross. Dead rat.

SCULLY
Doctor said I shouldn’t do that kind
of work. I don’t want anything to infect
my wound.

Scully notices the seams to the driver’s seat have been tampered with. She picks up a camera and takes a picture of the seams before pulling out her pocket knife and cutting the seat open. She pushes her hand through and pulls out a wad of photographs, bound together with rubber bands. She snaps a photograph, then unbinds the photos.

The first photograph makes her have to hold back vomit. Scully covers her mouth and closes her eyes to re-prepare herself to see an image of a girl having an erected penis shoved down her throat.

Scully can feel the tough skin of the man’s penis in her own throat, drops of pre-cum sliding down her throat. She can’t breathe. Scully gasps for air and drops the photographs to the floor. She grasps onto her stomach in agony, as if she is the one taking the weight of an adult male on a child’s body. She violently throws up on the ground by the passenger seat. In her head she hears the sound of a man’s voice: “There, there, Dana… don’t be sick. I love you, that’s why I’m doing this with you. There’s nothing bad about being in love…”

Scully rolls onto her back on the seat and lets out a soft cry. She covers her mouth to keep Monica from hearing her, but she’s too late. Monica steps up into the front of the truck, and sees Scully lying down, in tears. Monica can smell that Scully’s thrown up. Monica looks down, and sees the pictures scattered all over the floor.

MONICA
(soft)
Dana…?

Monica doesn’t touch her, knowing it will startle her, and make the situation worse. Scully takes a deep breath, she sits up, wiping tears from her eyes.

SCULLY
Shit. (beat) Mon’, I’m sorry, I didn’t
mean to…

Scully looks at Monica with a worried tear-stained face.

That was like a flashback. What kind of person experiences flashbacks of child rape when…

Scully closes her eyes to keep her next thought from completely entering her mind.

MONICA
Did you remember something that
happened to you?

Scully looks at Monica with lost eyes.

SCULLY
No… at least I don’t think so…
(beat) Um… I found pictures he
kept here inside his seat.

Scully bends over to pick up the photographs, making sure not to look directly at them. Something catches her eye. She blinks to make sure it’s not an illusion. She reaches down and picks up a piece of fabric cut out in the shape of a heart.

SCULLY
(disbelief)
Oh my God…

SMASH CUT TO:

INT. INTERROGATON ROOM – 7:20 P.M.

SCULLY
You tell me what you know about that
fabric heart I found inside your truck.

Scully is standing, both hands on the table in front of her. She angrily leans toward Barker who is across from her. He’s smiling.

BARKER
So you found my heart. Actually, not
my heart really, I’m continuing the work
of a friend of mine. I think that agent
Mulder was a friend of his, well… until he
backstabbed him and placed a bullet in his head.

Scully’s stomach twists and turns.

SCULLY
Roche?

BARKER
Yeah, John, called me back in ’96 when
I was living in Boston. He said the feds
were after him, and that they’d probably
kill him when they found him.

INT. OBSERVATION ROOM – CONTINUOUS

Monica and Brad watch on, not completely understanding what is going on. They watch Scully through the glass, her voice is slightly muffled to them.

SCULLY
You worked with John Lee Roche?

BARKER
No, I befriended him via mail while he
was locked away. I admired what a legend
he had become. His manner was so cool, so
calm, so friendly. He could have his way with
so many little girls. (beat) He told me that
the FBI had found his last three hearts. I read
that one of those three remains unsolved.

SCULLY
And you say you’re continuing his work.
(beat) What can you tell me about Roche’s
last heart, and the heart I found in your truck?

BARKER
You mean you want to know the name
and whereabouts of John’s last victim,
number sixteen…

SCULLY
He told you that information?

BARKER
I can say “yes”, but would you really
trust the word of a pedophile?

Barker mimics a phrase that Roche said to Mulder so many years ago. He eyes Scully, he can see that it bothers her being alone in the room with him. He smirks.

BARKER
You look like a frightened little girl.
Agent Scully, do you know what that
does to a man like me?

Barker pushes back in his seat to reveal his emerging hard-on. Scully does her best not to show any reaction to this.

SCULLY
I hate to disappoint you, Michael,
but I’m nowhere near the age that you prefer.

BARKER
Don’t matter, I see that frightened little
girl, hiding inside you.

Scully fights back tears and bites her lower lip. She stares blankly at Barker, unsure how to proceed in her questioning.

The door to the room opens, and Brad steps in.

BRAD
Agent Scully, a word please.

Scully gives Barker a look, then exits the room with Brad. They shut the door behind them.

SCULLY
Yes sir?

BRAD
You’re referring to a case that neither
myself nor agent Reyes is familiar with.
Would you mind allowing us in the loop?

Monica steps out of the Observation Room to join them. Scully takes a deep breath.

SCULLY
This man may know information about an
unsolved murder case that Mulder was
brought onto back in 1990. The case re-emerged
in ’96 and we discovered that Roche had
killed more than he initially stated. (beat)
The man I speak of, John Lee Roche, was a
serial child rapist and killer. After he killed
his victims he cut out heart-shaped pieces
of fabric from their clothing, he kept them as trophies.

MONICA
That explains how finding the heart
in Barker’s truck lead to this interrogation.

SCULLY
Mulder shot and killed Roche back in ‘96
after he kidnapped a girl. Roche led Mulder
to believe that his final heart, the one
left unsolved, was Mulder’s sister, Samantha.

BRAD
Do you believe Barker could help us
find the identity of Roche’s last victim?

SCULLY
I think it’s a possibility.

BRAD
Do you believe it is Samantha?

SCULLY
No. Roche only used Sam’s disappearance to
manipulate Mulder, make him vulnerable. (beat)
I also do not believe that Barker kills the
girls he’s hurt, murder doesn’t fit with the
M.O. determined by our profilers. I believe
that he cuts out hearts in the same manner
as Roche in order to make himself feel as great
as he believes Roche was.

The three of them pause their conversation when they hear erotic moaning coming from inside the Interrogation Room. Brad watches Scully’s reaction, she wraps her arms protectively around her waist.

SCULLY
I think it may be a good idea to call
Mulder in to help with this case. Mulder
was the profiler on Roche’s case in 1990,
I think he’d be best to deal with Barker’s
connection. Nobody else knows this case
as well as agent Mulder.

BRAD
He and agent Doggett are down
in New Orleans checking up on
a lead in Luke’s case. They’re
going to question Bob Harvey
tomorrow morning.

At this moment, Robert Comer passes them in the hallway, he gives a slight nod to Monica and continues on his way. He doesn’t stop to talk since it looks like they’re busy working a case. He couldn’t help but overhear “New Orleans” and “Bob Harvey” in Brad’s sentence.

The conversation continues on as he walks away.

SCULLY
You can call him up and send
either myself or agent Reyes
down to work with John.

BRAD
Which case do you want to work on?

Scully bites her lower lip – most everything about this Roche-Barker case is bothering her. She feels her stomach turn as more moaning is heard coming from the Interrogation Room. She knows that Barker is imagining himself with her, only envisioning her as a little girl. That thought makes her sick to her stomach.

BRAD
I know you said you worked this Roche
thing before, but I’m going to send you
and Monica down to New Orleans to look
into this Luke thing. I’ll call Mulder
and John up here to deal with Barker.

SCULLY
I think I may be more useful working
with Mulder up here since we both
were involved in the ’96 investigation
of Roche.

BRAD
I don’t want you dealing with Barker,
agent Scully, not when we’re all hearing
him out here, knowing what he said to you
when you were alone with him. I can see
he makes you uncomfortable.

Scully says nothing. She can’t argue against the truth.

BRAD
I’ll call John and tell him the
situation. I know he’s not going
to be happy to be taken off his
son’s case so I’ll deal with him.

Brad pulls out his cell phone and walks away from them.

Christ, how obvious am I being about how much this bothers me? What is it about those photographs I found that has struck a nerve with me? Is it possible that I am a victim of a pedophile and have no memory of the assault?

Monica looks at Scully, having heard her thoughts.

MONICA
Dana, are you all right?
I know I’d be pretty shaken up
if Barker had said those things to me.

Monica gently places her hand on Scully’s shoulder. Scully steps away from her, ending the physical contact.

SCULLY
I’m fine. (beat) We should go pack
up and head down to New Orleans. I’ll
call John before we leave to see if they’ve
already checked into a hotel, and if they can
have the keys held at the desk for us.
That way we can use their rooms and
save the Bureau some money.

Scully walks away.

Monica steps back inside the Observation Room, and sees that Barker is done self-pleasuring. She watches him, trying to concentrate on his thoughts, but she hears nothing. She sighs. Hopefully by the end of each of these cases something good will result either solving Luke’s case, or solving the unsolved Roche case.

CUT TO:

EXT. DOWNTOWN BAR – 9:00 P.M.
WASHINGTON, D.C.

Robert Comer leans against a cold, wet brick wall of a crummy bar in downtown D.C. A light rain shower falls down onto him, splatting on his black leather jacket. Comer pulls out a pack of Morley cigarettes and puts one in his mouth. He covers his hand over his lighter as he lights the cigarette, to keep the rain from falling on it.

He takes in the nicotine, calming himself as he waits nervously in the questionable side street. The street light flickers, providing little light to see well.

Approaching footsteps catch his attention. He’s heard these footsteps many times before. He straightens up as a man rounds the corner of the building.

MAN
We’re alone?

COMER
As always.

The man steps out of the darkness and into the flickering, dim light to reveal himself as Nicholas Rigali – a New York mobster with a mean look.

RIGALI
I thought you wanted out, Bob.
(beat) What changed your mind?

COMER
The FBI is going down to New
Orleans to question Bob Harvey
tomorrow morning.

RIGALI
About what?

Comer takes a drag off of his cigarette.

COMER
Something about Luke Doggett.

Rigali smirks at him, remembering very well the case of the missing police officer’s son.

RIGALI
Don’t act like you’re clueless, FBI.
(beat) You really think I don’t know
that you and Monica Reyes got close
in New Orleans? (beat) When I ask the
FBI for help, I always have someone on
them. (beat) Especially you, UC. So what now?
You and the FBI gone and set me up?

COMER
Hey, I’m not up to anything. This isn’t
some sting op to get your ass behind
bars. (beat) I’m just doing as you asked
and protecting your ass, letting you know
the FBI will be questioning Harvey tomorrow.
(beat) You might want to give him a heads up.
You should know that this questioning could
lead them straight to you.

Rigali can’t help but smile at Comer’s willingness to cooperate in this.

RIGALI
I will. (beat) What made you come around?

Comer doesn’t give him an answer. He takes another drag off his cigarette.

RIGALI
Could it be because of Monica Reyes?
I hear she’s back.

Comer looks at him.

COMER
What do you know about it?
Did you have something to
do with her disappearance last year?

Rigali smirks, liking the fact that Comer thinks he’s the one responsible for Monica’s mysterious disappearance last year. Though Rigali had nothing to do with that, it gives him more fuel against Comer. Allows him the ability to control him even more.

RIGALI
A few years ago you stopped
doing as I asked.

COMER
(quick)
She left New Orleans.

RIGALI
I want you to do it again.

Comer glares at Rigali.

COMER
Why?

RIGALI
To taunt someone who could
help us achieve what we want.

Rigali smirks.

COMER
You mean taunt Brad Follmer.

RIGALI
You remember.

Comer shakes his head. He can’t do this, not again.

COMER
No. I’m not doing it anymore.
You can’t ask me to betray her
like that again.

RIGALI
Then I’ll find other ways to proceed.

Rigali looks at him with a threatening look. Comer glares at him, hating him.

COMER
Fine. (beat) But not right
away. Give me some time.

RIGALI
That’s more like it.

Comer tosses his cigarette butt to the ground.

RIGALI
(after a beat)
What time will they question
Harvey tomorrow?

COMER
Sometime in the morning.
That’s all I know.

Comer makes his way out of the dark side street, ending the conversation before anyone can see them talking together.

CUT TO:

EXT. HOTEL – 11:43 P.M.
NEW ORLEANS

A yellow taxi cab pulls up outside of a tall hotel building in downtown New Orleans. Scully and Monica get out of the cab. Scully pays the driver as Monica retrieves their bags from the trunk.

They walk into the hotel and use their FBI credentials to obtain the keys to the rooms that Mulder and Doggett were staying in. They head to the elevator.

MONICA
I’m in 813.

SCULLY
675.

MONICA
What time did John say he and
Mulder were supposed to be at
Harvey’s to speak with him?

SCULLY
Eight in the morning.

Monica hits floors 6 and 8. The elevator starts moving up.

MONICA
Let’s meet downstairs for breakfast
at 6:30, then we’ll head out to find
Harvey’s home. I used to live down here
so there shouldn’t be a problem finding the place.

SCULLY
Sounds good to me.

MONICA
We should stop by the field office
here in New Orleans, let them know
that we’re here. I’m sure Brad already
called them. It’s good to check in anyway.

The elevator stops on floor 6, Scully exits.

SCULLY
Sleep well.

MONICA
You too.

The elevator doors close and Scully makes her way down the hallway to room 675. She uses her card key to open the door, and is surprised to see John Doggett sitting in a chair at a table. He’s still in his work clothes, with his sleeves rolled up. He’s going over paperwork. He hasn’t noticed her enter.

SCULLY
John…?

Her eyebrow is raised considerably. Doggett looks in her direction. He smiles and stands up to greet her.

DOGGETT
You and Mon’ have a good flight down?

He wraps his arms around her, hugging her. She hugs him back. She’s glad to see him, but she still wonders why he’s not up in D.C. with Mulder to work on the Barker case.

SCULLY
You’re supposed to be with Mulder
in D.C., working on the Barker case.
Why are you still here?

DOGGETT
Brad doesn’t think that I can work
this case without letting my personal
feelings get in the way. He’s wrong.

Doggett’s tone tells her that he’s already let his personal connection to the case get in the way. Her heart aches for him.

DOGGETT
I got back here an hour ago from
taking Mulder to the airport.

Scully sighs, and walks further into the hotel room.

SCULLY
(sensitive to his feelings)
John, you know Brad is not going
to be happy about this. You’re
disobeying orders from your direct superior.

DOGGETT
(defensive)
Doesn’t matter, up in New York, they
tried to keep me out of the case. I was
with the NYPD, they were feds, and the
case became their jurisdiction and they
still didn’t succeed.

Doggett sees worry and concern all over Scully’s face.

DOGGETT
(softer)
Look, I can handle myself with this
case. It’s following up on a lead, an
old suspect. I just… I need to be here
to look in this man’s eyes to know if
he’s lying or not. I spoke with Barker
earlier and he made a written statement
that he was paid to lie about Harvey’s
whereabouts on the day of Luke’s disappearance.
If this bastard is the one who took him,
raped him, and murdered him. I’m going to be
here to make the arrest.

SCULLY
(soft)
You could get suspended for not
following orders, John.

DOGGETT
And I don’t believe Brad would
do that to me.

Scully sighs, perhaps giving up too easily. She’s worried for John, his heart is in the right place, but it is possible that he can’t handle this case and may do something to compromise the situation. She can sense that John has his mind made up, and that there’s no changing it. She opens up her travel bag and retrieves her pajamas.

SCULLY
I’m going to get washed up and
changed. I want to be able to sleep
when I’m done. Could you please gather
all the paperwork and be ready for the
night by the time I get out of the bathroom?

Doggett nods his head. He knows that she’s had a rough day. Brad informed him about her reactions to Barker earlier, and then there was the mob job, and falling into a garbage truck and having to get a Tetanus shot and stitches. It’s been a long day for both of them.

He hears the shower turn on.

Doggett goes to the table and puts the paperwork back in their file folders. He’ll continue going over the old files before breakfast tomorrow morning. Even though he knows his son’s case inside and out, he wants to make sure that he’s reviewed the information again before he speaks to Harvey. He can’t let anything slip his mind.

In three months it will be twelve years since Luke was murdered. That’s too long for a case to remain unsolved. He owes it to Luke to put the man who killed him behind bars. He owes it to himself and to Barbara as well.

Barbara… he hasn’t yet called her to let her know that he’s following up on a strong lead. He should do that sometime soon. He knows that she doesn’t like it when he just shows up or calls out of the blue with nothing more to offer except that he’s “checking up on something”. The last time they spoke to one another about Luke, she told him not to come bringing it up again unless it was the real thing. What she meant by that was for the killer to have been arrested and it proven that he in fact killed their son.

He saw her last July… almost a year ago. That was back when he thought Dana and Monica had died in a car accident. He didn’t know who else to turn to so he turned to her. He only spoke with her that once about Dana and Monica being dead. He wonders now if anyone had informed her that they were alive and as well as can be expected considering the circumstances. He wonders if Barbara is still seeing that lawyer friend of Martin’s, Jack. Maybe one day when things are less tense between them (about Luke), he and Dana could meet up with them for lunch. It’d be nice if he’d be able to keep a friendship with Barbara after all they’ve been through. Perhaps finally solving Luke’s case could make that easier.

He looks toward the bathroom door and smiles. He’s finally got someone that makes him happy.

Doggett goes to his travel bag, he unbuttons his shirt and takes it off. He removes his slacks and slips into gray sweatpants and slips on his gray Marines t-shirt. He looks at Scully’s travel bag and wonders if he should get her a separate room, so that he’s not breaking any other Bureau rules and regulations tonight – other than ignoring the orders of his direct superior.

He hears that the shower turned off.

He walks to the bathroom door and knocks. He scratches the back of his neck.

DOGGETT
Dana? Did you want me to get
a room of my own?

Scully steps out of the bathroom, her hair is wet and she smells like spring flowers. She’s already in her purple satin pajamas. She’s drying her hair with a towel. She’s beautiful even without her hair done up and no makeup on her face. Doggett smiles.

SCULLY
That’s all right. Honestly, I really
need to be with you tonight. After the
day I’ve had, I don’t want to be alone.

Scully doesn’t elaborate on why she feels this way. She doesn’t want to talk about the child rape flashback she had earlier, that she suspects may have happened to her in her past, only she hadn’t remembered it until earlier that day. She doesn’t want to bother John with her problems. She doesn’t want him to worry more about her than he already does. She’ll cope with her problems on her own, it’ll be easier that way.

Scully pulls down the blankets of the bed and crawls in. She rests her back up against the headboard. She lets out a sigh. She wishes she could curl up in a ball and never get out of bed.

DOGGETT
(concerned)
Do you need to talk?

Doggett sits next to her on the bed. He hopes that this is the moment in which she decides to open up to him, let him know what has been bothering her since she returned from the Facility this past January. He also wonders if he’ll be sleeping in bed next to her, or on the floor if she’s not comfortable being so close to him at this time.

Scully sinks down into a lying position.

SCULLY
I’d rather sleep.

Nope, she’s not opening up to him tonight. He’s disappointed. She’s been back for five months now and is still choosing to deal with what has happened to her all on her own.

DOGGETT
(hesitant)
Is it all right if I stay
here in bed with you?

He feels odd asking her this question since it isn’t the first time they’ve slept in the same bed together, but since he doesn’t know how she’d react to this, he feels compelled to ask. He doesn’t want a repeat of her shutting the door on him, and crying like what happened on her birthday when he tried to kiss her. In fact, they still have not kissed any more than pecks on the cheek or quickly on the lips. She’s staying away from passion and emotion with him, and he doesn’t know why.

SCULLY
I wouldn’t have it any other way.
(beat, joking) Plus I’m sure both
Brad and Mon’ will have it in for
you tomorrow, you’ll need a good night’s sleep.

Doggett smiles, he’s well-prepared to deal with that tomorrow. He turns off the light in the room and rolls onto his back. He’s surprised to feel Scully curl up next to him, her arm resting across his body. He wasn’t expecting this kind of contact. He runs his hand over her arm, and kisses her on the top of her head.

DOGGETT
(soft, loving)
Good night, Dana…

Scully moans a tired response and is well on her way to sleep, feeling safe and protected in his arms.

FADE OUT:

FADE IN:

INT. BRAD FOLLMER’S OFFICE – 7:22 A.M.

JUNE 1, 2005
WEDNESDAY

Brad places his laptop computer on his desk, sets down his coffee and sits down in his chair. He turns on his laptop, preparing for the day ahead of him. Doggett and Mulder should be in his office to report to duty within the hour.

The intercom on his desk buzzes and Kim Cook’s voice filters through:

KIM COOK
Sir, Agent Mulder is here to see you.

BRAD
(into intercom)
Let him in.

Brad wonders why only Agent Mulder is here. Agent Doggett should be with him. Brad leans back in his chair. Perhaps Doggett isn’t in yet...

Mulder comes through the door, the look on his face tells Brad immediately that something is wrong. Mulder comes to stand front and center in front of Brad’s desk.

MULDER
Sir, I have some bad news.

BRAD
Have a seat.

Brad signals to the chair behind Mulder. Mulder sits down.

BRAD
What is it?

MULDER
It’s Agent Doggett, sir... (beat)
He’s still in New Orleans.

Brad lets this register.

BRAD
Why is he still in New Orleans?

MULDER
Because he wants to continue
working on the case we were on.
(beat) I tried to tell him that
he shouldn’t disobey his direct
superior, but he wouldn’t listen.
He put me on the plane and went back
to the hotel to wait for Agents
Scully and Reyes. (beat) I tried to
talk reason to him, but he wouldn’t
hear it, sir. (beat) He believes that
you think he isn’t capable of working
on this case because of personal feelings.
(beat) I’m sorry, sir.

BRAD
There’s nothing for you to be
sorry for, Agent Mulder. (beat)
Thank you for reporting this to me.

MULDER
Yes, sir. (beat) It was my duty
as a federal agent.

Brad nods his head.

BRAD
I don’t want you to worry about
Agent Doggett. I will take care
of the situation he has created.
(beat) Meanwhile, I believe you are
capable of dealing with Barker on
your own. All right? I’ll join you
later when you interrogate him.

Mulder takes a small gulp, and musters up all of his being of confidence. He’s hasn’t worked a case all by himself in such a long time.

MULDER
(confident)
Yes, sir.

BRAD
Keep me informed. You’re dismissed.

MULDER
Yes, sir.

Mulder nods his head at Brad, gets up and exits the office.

Brad let’s out a sigh. Only John Doggett would think of disobeying his direct superior to work on the Luke Doggett case. Brad picks up the phone and dials Doggett’s cell phone. He waits patiently as he waits for Doggett to pick up.

DOGGETT (FILTERED)
John Doggett.

BRAD
(calm, playing it cool)
Agent Doggett, this is Assistant
Director Brad Follmer.

DOGGETT (FILTERED)
Yes, sir?

BRAD
I hear you’re still in New Orleans.

DOGGETT (FILTERED)
Yes, I am.

BRAD
I believe you are supposed to
be up here in D.C. right now.
Isn’t that correct?

There is a small beat of hesitation from John on the other end.

DOGGETT (FILTERED)
I sent Agent Mulder up, sir.

BRAD
Yes, I know. I just spoke with
him. (beat) Did I or did I not
reassign you and Agent Mulder both
to the Michael Barker case, and did
I or did I not remove you from working
on your son’s case?

DOGGETT (FILTERED)
Yes, sir, you did.

BRAD
So you’re disobeying me?

DOGGETT (FILTERED)
I can handle this case, Brad.
I’m not letting personal feelings
jeopardize how I investigate this
case. (beat) I’m capable of-

BRAD
(stern)
-Agent Doggett, I have ordered
you to be in D.C. working on the
Barker case. I did not, nor will I
ever order you to work on any personal
case as long as you are in the Bureau
and as long as I am your direct superior.
(beat) If you are not up in D.C. by-

DOGGETT (FILTERED)
-I’m on this case and-

BRAD
(talking above him)
-If you are not up in D.C.
this afternoon I will suspend-

DOGGETT (FILTERED)
(getting mad)
-You won’t do that, Brad. (beat)
I’m on this case.

BRAD
You will be suspended if you
are not in my office by three
o’clock this afternoon. Do you
understand me, Agent Doggett?

The line Doggett is on goes dead. He hung up on Brad. He’s not going to hear this. Brad won’t suspend him. He’s his friend.

Brad lets out a sigh and hangs up the phone. Doggett must believe he won’t be punished for disobeying his direct superior because they are friends. We’ll just have to see about that...

CUT TO:

INT. HOTEL RESTAURANT – NEW ORLEANS – 6:30 A.M.

Scully and Monica are sitting at a table, with their fresh pancakes set in front of them and orange juice to drink.

MONICA
These are my favorite blueberry
pancakes, you’ll love them.

SCULLY
Strawberry is good too.

MONICA
Yeah. So is-

She stops when she sees Doggett enter the restaurant. Scully doesn’t notice since her back is to the entrance.

SCULLY
So are what, Monica?

MONICA
Oh no... John.

Scully turns to follow Monica’s look, and see John Doggett with an angry look on his face, making his way over to their table. He sits down with attitude next to Scully.

SCULLY
(worried)
John?

DOGGETT
(moody)
I’m fine. (beat) What’s to eat?

MONICA
(disapproval)
Johnny Jay Doggett.

Doggett looks up at her with the Glare of Death.

DOGGETT
What?

MONICA
Brad said-

DOGGETT
(lying)
-Yeah, he said that I was
allowed on this case.

MONICA
No he didn’t. You just
spoke to him. (beat) He’s
going to suspend you, John.

DOGGETT
No he won’t. I’m his friend.

SCULLY
John, he’s not Skinner. He’s Brad Follmer.

MONICA
He’ll do it.

DOGGETT
No he won’t. I’m on this case.

MONICA
What? You think we’re not
capable of working this case
on our own? Do you not trust us?

Doggett says nothing as he snatches a menu from across the table. He gives her a look.

Well you didn’t find him back in ’93, now did you?

Monica’s expression changes with the comment he said inside of his head.

MONICA
Oh, so that is what this is about?

SCULLY
What?

MONICA
John?

DOGGETT
Blueberry muffins sound good.

MONICA
Do not change the subject, John.
(beat) Agent Scully and I are very-

DOGGETT
-Are you capable of
getting this case done?

He glares at her. New York has been brought up indirectly between them, and here they go again...

Scully is very bothered by their arguing. It makes her uneasy and nervous.

SCULLY
(snaps at them)
Agents... How about we drop this
negativity. We’ll just have to work
with John being here, okay? (beat/calmer)
Please don’t fight, I don’t like it.

Doggett and Monica glare at one another for a moment then fall back into their “normal mode”... but the tension is still there.

SCULLY
Thank you.

DOGGETT
I’m sorry.

MONICA
I’m sorry, too.

They eat in silence for the rest of the morning until they have to go question Robert Harvey.

CUT TO:

INT. MULDER / KRYCEK’S OFFICE – 7:53 A.M.

Krycek is sitting behind his desk, holding a porno magazine in front of his face. Every now and then he lifts his eyes from the pages and glances around the room, and to the hallway to make sure that no one is catching what he’s doing.

He looks back down at the publication he holds in his hand.

POV – KRYCEK

Dr. Seusse’s “Green Eggs and Ham”. He chuckles.

KRYCEK
(reading)
I do not like green eggs and ham.
I will not try them in a box with
a fox…

He looks back down at “Green Eggs and Ham” and flips the page.

Krycek doesn’t notice, but Mulder enters the office, and stops in his tracks when he sees that Krycek is holding a porno magazine up in front of his face. Mulder rolls his eyes at Krycek. He is not amused by his partner’s actions.

MULDER
Agent Krycek?

Krycek yelps, terrified that he’s been caught reading a kid’s book. The porno magazine and “Green Eggs and Ham” fly out of his hands and onto the floor. Krycek lets out another loud yelp when he sees the look Mulder is giving him, he’s actually scared of Mulder.

MULDER
I’m working on a case on my
own today, can I ask you to
work on reorganizing the files?
I think some of the alphabetizing
is wrong. It would help progress our
workflow if we got that fixed.

KRYCEK
No way Jose! I’m reading porn!

Mulder looks down at “Green Eggs and Ham” that lies on the floor, next to the porn magazine.

MULDER
You were reading a children’s book.

Krycek squirms in his seat, dammit, he’s been caught!

KRYCEK
Hey look, I can help you
work on your case.

MULDER
I don’t need help that you can’t provide.

KRYCEK
What’s the case?

MULDER
Something I’ve worked on before
from many years ago, before you
and I became partners. I worked on
it with Reggie and then later with Scully.
You have nothing to do with it.

KRYCEK
Oh yeah, well I’m your partner now.
You’re obligated to tell me.

MULDER
No, I’m not.

KRYCEK
Yes, you are.

Krycek stands up waiting for a “are not” – “are too” fight to happen. He can’t wait, it’s been forever since he and Mulder argued like idiots.

MULDER
Look, just do as you’re told, Krycek.

Mulder goes over to a filing cabinet and searches for his folder on John Lee Roche. He finds it and takes it out. He doesn’t say anything to Krycek as he walks out of the office.

Krycek pouts, crossing his arms in front of him. Why is Mulder still pretending to not be his buddy?! This is getting out of hand, he’s got to do something about this. Krycek angrily walks to the office door, going to go trip Mulder in the hallway, but the Janitor stands in his way.

KRYCEK
Out of my way, old man.

JANITOR
Nope. Can’t do that.

KRYCEK
Why not?

JANITOR
Because, you are responsible
for the pain and suffering my
friend Monica went through last year.

KRYCEK
So?

JANITOR
So, I think you need to have a
little taste of something called
comeuppance.

KRYCEK
Sorry, that’s not my favorite
flavor of ice cream. Step aside.

The Janitor shakes his head and wraps his arm around Krycek’s waist to carry him like a football. He heads to the men's restroom.

KRYCEK
Let me go!

Krycek tries to pound on the Janitor as he’s being carried to what he believes could be certain death, or a horrid swirlie.

The Janitor sets Krycek down in a corner on the floor in the restroom. He turns his back to him and pulls out a razor, and menacingly turns around to stare down at Krycek. The Janitor has a sweet smile on his face.

KRYCEK
What are you going to do to me?

JANITOR
I hear you pride yourself
on your vanity.

KRYCEK
I’m not vain. I’m DA MAN!

Krycek tries to stand up, but the Janitor pushes on his shoulder to keep him seated on the floor. The Janitor places the razor blade to one of Krycek’s eyebrows, and he shaves it completely off. Not both eyebrows, only one.

KRYCEK
Ooh… I’m so scared.
So you’re shaving my
forehead. Whoopity-doo.

JANITOR
You truly are a dumb shit.

The Janitor stands up and offers his hand to Krycek, to help him to his feet.

KRYCEK
You’re not a big bully.
You only think that you are.
You don’t scare me.

The Janitor turns Krycek to see his reflection in the mirror. Krycek’s eyes pop open, at what he sees. He only has ONE EYEBROW!

KRYCEK
OH MY GOD YOU MOTHERFUCKER!
This is worse than La Jaconde!

JANITOR
Well, my work here is done.

The Janitor happily walks out of the restroom, proud of the work he’s done on Krycek’s eyebrow. That should take several weeks to grow back. Even then, it may never be the same.

Krycek is too worried about his beauty to follow the Janitor and try to get back at him. He leans in closer to the mirror to view the destruction done to his face. First the big ol’ scar from the knife fight he had with Monica last year, and now this missing eyebrow thing, he doesn’t even look like the frickin’ “Mona Lisa”, she didn’t have any eyebrows. He’s like a two-eyed Cyclops.

KRYCEK
(about to cry)
My beauty…

Off of Krycek moping and staring at his destroyed beauty.

CUT TO:

INT. BOB HARVEY’S HOME – 8:16 A.M. NEW ORLEANS, LOUISIANA
WEDNESDAY – JUNE 1, 2005

Bob Harvey is leading John, Dana, and Monica into his living room. The place is clean enough for a low-life like Bob Harvey. It doesn’t look like it’s been vacuumed or dusted, but his belongings are put away. It smells like stale cigarettes.

HARVEY
So what’s the FBI need from me now?
Didn’t you two get all you needed back in ’93?

Doggett carefully watches Harvey, wanting to know the truth about what happened to Luke.

SCULLY
Have you heard of or are you
acquainted with a Michael Barker?

Harvey looks suspiciously from Doggett to Monica.

HARVEY
Yeah, he’s a friend of mine.

DOGGETT
Yeah, some friend. Lies for you,
creating a false alibi when we
first questioned you up in New York.

HARVEY
False alibi? I don’t know what
you’re talking about.

Doggett pulls out a copy of Barker’s written statement. Harvey looks at it.

HARVEY
Hmm… so now he’s changing his story-

DOGGETT
- Do you know what this tells us?
Do you know what this helps explain?

Harvey looks at Doggett, slightly afraid of the man. Doggett’s eyes are intense with anger and determination.

SCULLY
So Barker’s statement proves that
you weren’t in Salt Lake City. (beat)
You were the man who called in the
location of Luke’s body. Don’t you
find it at all suspicious? You knowing
about the location. You calling that in.

Scully leans forward, her blue eyes meeting his. She’s just as determined as John to get to the bottom of this case. Harvey breaks contact with her eyes. John and Monica watch on.

SCULLY
C’mon… either you killed that little
boy, or you know who did… I’ve seen
your file… I know what you like to do
to little boys. (beat) You did a good
job cleaning off Luke’s body… didn’t you?
Very thorough. Autopsy report says there
were signs of sexual abuse, but no semen
or DNA was found.

Scully eyes him, hoping what she’s saying will get him to speak.

SCULLY
You and I both know that’s the
anomaly… you’ve never washed
nor killed any of your previous victims…

Harvey looks at her, there’s weakness in his eyes.

In the background, Doggett rolls his eyes, his jaw is tight and squared off.

DOGGETT
(snapping)
Listen here you son-of-a-bitch-

SCULLY
(very strong/commanding)
- Agent Doggett.

Scully stands up to face John. She gives him a look and he stops speaking. Scully waits a beat and looks at Monica. It’s obvious that John isn’t able to keep his emotions, opinions and bias in check.

SCULLY
Agent Reyes, could you please
remove Agent Doggett from the room?

Monica nods her head. She’s impressed with how well Dana is handling the situation. Monica gives John a look, and leads him out of the house.

Scully takes in a deep breath. She sits back down in front of Bob Harvey.

SCULLY
I apologize for Agent Doggett’s
outburst. I assure you that will
not happen again.

Silence.

Harvey is pensive.

HARVEY
Look, ok, I admit I took the
boy, but I swear I didn’t kill him.

SCULLY
What happened, Robert?

Scully takes out a tape recorder and looks at Harvey for his permission to record what he has to say. He nods his head and she presses “RECORD”.

HARVEY
I was driving around Long Island, wasting
time before a meeting I had with this mob
guy, Vinny Cordini. I was on this street
and saw the boy… he was… he was riding
his bike. I assumed he was on his way to
school.

Harvey closes his eyes, imagining the scene.

HARVEY
He was a cute kid, and I know I had to
have him, taste his innocence and youth.
I pulled up next to him and asked if he
needed a ride, it was close to eight in
the morning, I figured that maybe he was
running late and would take up my offer.
Parents must not have taught him well or
else he was mad at them, but he accepted
a ride from a stranger.

Harvey smiles at Scully, enjoying talking about this.

SCULLY
You didn’t use any force to get
him to go with you?

HARVEY
No. In fact as I drove with him
he kept talking about how much
he hated his parents, and how
he wasn’t really heading to
school. He decided he was running
away from home. He figured his
parents hated him and maybe they’d
realize that he was important after he was gone.

SCULLY
He didn’t suspect anything
when you didn’t drop him off at school?

Scully is doing her best not to think about how she’s going to get John to hear this without losing his temper or delving into another episode of self-blame. It will break him, possibly destroy him to hear that Luke was running away because he thought his parents hated him.

HARVEY
I asked him where he wanted to go
down there or something. I told him
I’d take him there, but I had to go
home first to meet with someone. (beat)
The kid liked to play tough, but I could
see tears welling up in his eyes.

Harvey pauses, to let the image of an innocent little boy sit in her mind.

HARVEY
Anyway, we get to my place and
I tell him to go lie down in my bed…

Scully swallows hard. This hurts her to hear, but she must keep her cool.

HARVEY
After a minute or two, I couldn’t
stand not touching him, feeling him…
so I crawled in next to him and told
him that I could help him feel better.
Better than his parents ever could…

Harvey takes in a deep breath and slowly lets it out, a look of satisfaction on his face, not smug, but pure satisfaction.

HARVEY
I had him roll onto his stomach and
I removed his pants. I used a lubricated
condom when I fucked his ass, poor little
thing squirmed and cried out for his mommy
I as I fondled his little prick…

Scully blinks her eyes to keep tears from building up.

HARVEY
Your autopsy didn’t find any DNA
because I practice safe sex.

SCULLY
Why don’t you save all the lurid
details for your written statement.
How did Luke die?

Harvey shakes his head as if it’s a shame Luke was killed.

HARVEY
Cordini, the guy I was doing business
with, walked in on us. The boy turned
his head and got a good look at his face.
I got off the boy, conducted my business
and Cordini said he had to take care of a problem.

SCULLY
Are you saying that this Cordini killed Luke?

HARVEY
Yeah, he took him and made me go
with him to some motel to wash
the boy up, get rid of anything
I may have left behind. After we
washed him up, Cordini drove
us both out to this field and he
shot the boy, instantly killing
him. Shot him in the back, poor
kid never saw it coming. He only -

Scully sees regret in Harvey’s face.

SCULLY
You never intended to kill him, did you?

Harvey shakes his head.

HARVEY
No. I just wanted my way with him.
I was going to take him back
where I picked him up.

SCULLY
Not without scaring him into
not telling anyone, right?

HARVEY
Sounds like you speak from experience-

SCULLY
Just answer the question.

HARVEY
Yeah, I would have done what I
could to get him not to talk.

SCULLY
Ok, so Luke was reported missing…
three days pass. What made you call
in his location?

HARVEY
Saw his parents on TV, pleading for
the boy’s life. I knew if I were in
their position I’d want closure-

SCULLY
- Do you realize by paying Barker
to lie about your location that
you’ve brought years of suffering
to Luke’s parents? An unsolved case
will not bring closure to anyone.

HARVEY
I did what I could. The mob could have
had guys watching me. It was all over
the news when I was brought in for
questioning as the main suspect in his
death. Cordini knew Barker and I were
pals so he struck some kind of deal with
him to say I was in Salt Lake City the
day the boy disappeared. I went with it
because I know the mob has no hesitation
in knocking off anyone – including children -
who poses a threat to them.

Harvey stops. A concerned look is on his face.

HARVEY
(a bit scared)
In fact, I think I’d like to be taken
into federal protective custody right
now. They could be watching me now. I..
I… I want to cut some deal to help you
find this Cordini and bring him in for that murder.

SCULLY
Are you requesting we get the Federal
Marshalls involved to secure you in
the Federal Witness Protection Program?

Scully’s heart sinks. John is not going to like this. It would mean that Harvey would start a new life somewhere else, and not have to pay for any crimes he’s committed, including the kidnapping and rape/molestation of Luke.

HARVEY
Yes. I’ll cooperate and do what
it takes to bring in Cordini so
long as I’m promised protection.

Chills run through Scully’s body. She nods her head.

SCULLY
You believe your life is in
danger as we speak?

HARVEY
Yes.

SCULLY
(takes a deep breath)
Sit on the ground and stay below
the view of the windows. I’ll
inform Agents Doggett and Reyes
of your request and we can call in
more agents to get you to the FBI safely.

Harvey nods his head and sits down on the ground, keeping low. Scully stands.

SCULLY
I’ll be right back.

Scully walks to the front door and outside to John and Monica. It looks like they’ve had a heated argument.

Doggett sees Scully and approaches her quickly, he’s angry.

DOGGETT
(angry/yelling)
What the Hell were you thinking?!
Kicking me out of there?! This is
my son’s case, Agent Scully, I deserve…
no, I have a right to be involved in
the questioning of this suspect!

Scully gives him a look, this quiets him. An uneasy calm washes over him. He can tell by the look on her face that something big has just happened.

SCULLY
Bob Harvey has confessed to kidnapping
Luke. He’s also given the name of the man
who killed him. He’s asking for protective
custody, and is willing to help us apprehend
the killer so long as he’s entered into WITSEC.

It feels as if time has stopped.

John holds his breath to bottle up the anger that flows through him. If Harvey is entered into the Witness Protection Program, then he wouldn’t be punished for taking his son, and hurting him. He’d be a free man, living a new life.

Doggett shakes his head and takes a step towards Scully. She takes a step back away from him. She’s on edge due to his outburst and yelling when she came outside.

DOGGETT
(determined)
No. We can’t do that.

SCULLY
John… Luke was killed by a man involved
with the mob. Bob Harvey has risked his
life by confessing today. He’s ready to
cooperate to help us bring down Luke’s
murderer, a man named Vinny Cordini.
I don’t think we have any other option.

Doggett shakes his head, this is bullshit.

DOGGETT
No. If he took my son, he has to…

Doggett bites his lower lip. Tears have welled up in his eyes. He’s beginning to break. Scully looks to Monica.

SCULLY
Mon’, could you call in some
reinforcements so we can
safely bring Harvey in?

MONICA
I’m on it.

Monica pulls out her cell phone and dials the New Orleans field office. She walks away from them.

Scully carefully approaches Doggett, afraid of where his emotions may be.

SCULLY
(soft)
Johnny…?

He raises his eyes to look at her. He is angry, his eyes are narrowed. Scully’s face twists with worry.

SCULLY
(careful)
You’re not angry with me, are you?

DOGGETT
(blows up)
Jesus Christ, Dana! I’ve talked to
you about Luke! You know how for the
past twelve years I’ve blamed myself
for his death, for not giving him a
ride to school, and now that we got
this asshole, you’re standing here, in
my face, telling me you’re behind the
idea of protecting him?!

He angrily throws his hands up in the air and turns his back to her.

Scully doesn’t know what to say. John’s never been this angry with her. In fact, this may just be the first time he’s ever yelled at her and meant it.

SCULLY
(calm)
John… this is exactly why A.D. Follmer
didn’t want you on this case. Your
judgment is biased-

DOGGETT
(quickly turns to face her)
- And you’re sympathizing with a
child molester, a murderer!

SCULLY
He didn’t kill your son. This man,
Cordini, did. Harvey has remorse
that it happened, that’s why he
called in the tip that led the
investigative team to Luke’s location-

DOGGETT
(angry)
- That’s bullshit and you know it!

Doggett storms away from her and into Harvey’s house. Scully’s eyes go wide. What is he doing? Whatever it is, it can’t be good.

SCULLY
(worried)
Monica!

Scully quickly follows John inside just as she enters, John throws a hard punch in Harvey’s face.

SCULLY
(stern)
Agent Doggett!

Doggett ignores her. He glares down at Harvey.

DOGGETT
Why are you lyin’ to us? Why are
you pointing a finger at another
man when you know that you killed my son?!

MONICA
(strong)
Agent Doggett, step away from him
right now. You don’t want to
compromise this case anymore than
you already have.

Doggett glances back at her. He knows he’s done wrong. He knows Dana and Monica are better suited to handle this case because they aren’t as strongly connected to its outcome as he is. He’s stepped way over the line. He knows that he’s going to have to face some kind of discipline for this.

MONICA
I’m going to have to report that
you assaulted a man who as of a few
minutes ago is under federal protective custody.

Doggett tightens his jaw. He doesn’t argue.

Scully kneels down by Harvey. She grabs a Kleenex box and offers Harvey a tissue.

SCULLY
Hold this to your nose and
tilt your head back, it’ll stop the bleeding.

Harvey takes the Kleenex and does as he’s told. Scully stands up and gives Doggett a look – she doesn’t want to deal with him right now.

CUT TO:

EXT. CENTRAL PARK – 12:30 P.M.
NEW YORK CITY, NEW YORK

Marita Covarrubias is sitting alone in a nice grassy area of Central Park. She’s holding a six inch sub sandwich in her hand and is enjoying her lunch hour.

The sun is shining and it’s a beautiful afternoon.

Marita takes another bite into her sandwich.

KRYCEK
(off screen)
Marita! Stop eating and help me!

Marita swallows and looks up, Krycek is walking toward her. He has one hand covering one of his eyebrows, the side the Janitor shaved off.

MARITA
(happy)
Alex! What are you doing here?

Marita stands up to greet him – a confused look on her face. Why is Alex covering his eyebrow?

KRYCEK
Everyone is being mean to me.

MARITA
You came all the way up to
New York in time for my lunch
break to complain? (beat)
Did you hurt yourself?

She tries to move his hand.

KRYCEK
Don’t. You’ll be terrified.

Marita moves his hand and sees that there is no eyebrow. She quickly covers her mouth to keep from laughing at him.

KRYCEK
Laugh it up, Blondie.

Krycek plops down on the ground, grumpy.

MARITA
What’d you do?

She sits next to him. She’s humored by this, but at the same time she feels sorry for him.

KRYCEK
That damn janitor… he forced
me into the bathroom and held
me down as he shaved off my eyebrow.

MARITA
What did you do to him?

KRYCEK
(serious)
Nothing. He said it was because
of what happened to Monica at
the Facility! That was so not
my fault. I’m a victim of that too.
I was played like a pawn in checkers.

Marita bites her lower lip to not laugh – he means chess.

MARITA
My poor little Sasha…

She leans over and kisses him on the cheek and runs her hand through his hair.

KRYCEK
And then, actually before that, Mulder,
refused to let me help him on a case he’s
working on. It’s been one month, thirty-one days,
and twelve minutes since he broke up with me on
April Fools Day, and ok, he sounded serious
about it, but I just kept on hoping it was
an April Fools Day joke.

MARITA
Don’t worry about it. I’m sure
everything will work itself out in the end.

KRYCEK
But Fox is my best friend. (sniffles)
I mean if you didn’t exist and Dana
refused me, and he never met Diana, he
and I would be soul mates, friends forever
and dare I say… lovers.

MARITA
I think you’re going overboard here.

KRYCEK
All right, yeah, maybe not lovers, but
everything else I meant. (beat) We even
have a song together.

MARITA
Are you sure you’re in love with me?

KRYCEK
Yes, my sweet Snuffles. How could
you ever doubt my love?

MARITA
Snuggums, you not just ten seconds
ago said you and Mulder could be lovers.

Krycek is quiet. Oops. He lowers his head.

KRYCEK
(soft)
I’m sorry. You know you mean the world,
no, the universe to me. (beat) I have
plans for our future together you know.

He looks up at her with his loving emerald green eyes.

MARITA
(smiles)
Tell me.

KRYCEK
Well, we’ll get married in England
after somehow humans beat the aliens
when they come to colonize the planet.
You’ll wear a beautiful white dress since
Daddy C thinks you’re still a virgin.
We’ll buy a two-story house in a nice
suburban neighborhood in Alexandria.
After a couple years, you’ll come home
from work and I’ll already be home, cooking
dinner, Borsch, and you’ll tell me you’re pregnant.

MARITA
What are our kids’ names?

KRYCEK
Jimmy, Joey, and Tommy, Alice and
Stephanie. (beat) Jimmy and Joey
will be twins. They’ll have my luscious
green eyes and your sun-kissed blond
hair. (beat) Stephanie will be the
youngest by nine years. She will be a
whoopsie, you know we forget to use
protection, but we won’t tell her that,
and we’ll love her just the same.

Krycek takes hold of her hand and kisses it.

KRYCEK
Now, Snuffles, don’t be sad, but
I’ll die first. Which is proper since
then I can protect you from beyond.
I’ll be almighty and powerful.

MARITA
(cocks eyebrow, smiles)
You’re not going to turn into
the Devil again, are you?

Krycek’s eyes brighten with pure joy.

KRYCEK
Marita! Don’t you see?! We’re
already married! Remember we
were wed in the Afterlife!
Until death do us part!

MARITA
Actually, it was until life do us part.

KRYCEK
Death. Marriage is marriage. You
are my wife, doesn’t matter if
it happened on the other side!

Krycek stands up, excited.

MARITA
Where are you going?

He tugs on her arms and helps her to her feet. He sweeps her up into his arms and carries her. Marita giggles.

MARITA
Sasha!

KRYCEK
I’m going to buy you – us – wedding rings!

Marita smiles. This may actually be more fun than being traditional – what the heck they can be married if not by law, but in their hearts. That’s where it matters the most anyway.

MARITA
Does this mean I don’t have
to go back to the U.N. today?

KRYCEK
Yes! Spend the day with me!
We’ll get a hotel room, the
honeymoon suite, and make love all day.

Marita kisses Krycek on his bare eyebrow, lipstick is now on it. He continues carrying her out of Central Park. After a few beats his pace slows down and his back begins to hunch. He grunts.

MARITA
Would it be easier if you put
me down and we walked holding hands?

KRYCEK
No. I can do this.

He struggles some more. It looks like someone needs to make a few more visits to the gym.

KRYCEK
Ok, maybe you’re right.

He sets her down and pauses to catch his breath. Marita grins at him. He looks cute wearing her lipstick on his bare eyebrow.

MARITA
You know… you don’t have to live
with Spender anymore now that we’re married.

KRYCEK
Snuffles… we may be married, but
we’ve only just renewed our relationship
in the past few months… I think, right?

MARITA
Well, we’ve been on and off again
so often I’ve lost track of when we
officially got back this time around.

KRYCEK
Anyway, my point is that I still
want you to have your independence
like Doctor Peterson said you should
have to cope with having been outside
your own control for so long.

He takes hold of her hand. Marita looks pensive.

MARITA
Yeah, I guess you’re right… do you
promise not to hit on other women
from now on?

KRYCEK
Marita, I wouldn’t be the Hunky Punk
if I couldn’t be a flirt. I will promise
you this though… my body is for you and
only you. I promise from now until the end
of my life that I will only have sex, fuck,
bang, have intercourse, copulate, go to
bed with, breed, fool around with, fornicate,
go all the way with, have sexual relations
with, make out, lay, mate, procreate, screw,
be intimate and make love to you. But if I do
die first, you have my permission to be with
another man, though I can’t promise I won’t haunt him.

MARITA
(blushing)
You’re so silly. But please try to
control the Hunky Punk and not flirt
too much. It hurts my feelings. But
I guess since you promised never to
have sex with anyone else I have
nothing to worry about.

KRYCEK
Exactly. Now what kind of rings
do we want to get?

And so the happily newly married couple walk on to find the rings to forever unite them in marriage.

CUT TO:

INT. INTERROGATION ROOM – FBI HEADQUARTERS – 6:00 P.M.
WASHINGTON, D.C.

Mulder and Michael Barker are sitting at a table in the middle of the room. Mulder has been talking with Barker since 9 o’clock this morning and has gotten nowhere.

That’s nine hours of listening to Barker talk about his life starting with the day he was born. Listening to him talk about his childhood, and how horrible it was growing up in his family, his years in high school when he realized that he was attracted to young boys and not girls his age, the time he did in prison, what he thinks of his parole officer, his opinions on the President and the current situation overseas in Iraq, Martha Stewart’s time behind bars, his favorite television shows, music he hates, and how he thinks Agent Scully must have been a pretty little girl, exactly what he’d look for when selecting his victims… how he wishes she were a young girl now…

Mulder sighs. He’s had enough of this guy being up on a soapbox.

MULDER
Michael. As interesting as it’s
been hearing all about your life
and opinions, I’m really here for
one reason: to have you tell me what
you know about Roche’s last victim.
We’ve already figured out the pictures
Agent Scully found in your truck are
crimes committed prior to your previous conviction.

Barker watches Mulder carefully.

MULDER
Listen, you’ve confessed to withholding
information on the kidnapping and murder
of a police officer’s child. You violated
the terms of your parole. You’re looking at
18 to 20 years in prison already. You have
nothing to lose. (beat) You tell me the truth
about Roche’s last heart, and I can suggest
to the judge a reduced sentence, less
time in the big house.

Barker sighs and pushes back in his chair.

BARKER
Roche said if the feds ever came
after me for what he told me that
I was supposed to drop the name
Samantha Mulder when asked about the last heart.

MULDER
Are you saying my sister,
Samantha, is his last victim?

Mulder’s face is tense. He doesn’t believe him. Sam was used to manipulate him in this case before. He won’t let that happen this time around.

BARKER
No. What I’m saying is that John
wanted me to say that.

Mulder stands up, frustrated. He rolls up his sleeves.

MULDER
(loud)
We’ve been in here nine hours and
you haven’t given me anything.
Now do you or do you not know who
the last heart belongs to?

Mulder places his hand on the table and stares down at Barker.

BARKER
Caitlin Elizabeth Morgan.

Mulder nods his head. Caitlin. Was it a coincidence or a plan that Roche had kidnapped a little girl named Caitlin back in 1996?

Mulder looks back at the two-way mirror. Brad has been in the observation room this whole time too.

MULDER
Caitlin Elizabeth Morgan? (beat)
A guard will be in to take you
back to holding while I check up
on this. Is there anything else
you know about Caitlin?

BARKER
Roche only gave me a name… oh, and
he also said something about Woonsocket,
Rhode Island… I hear it’s quite wooded up there.

Mulder nods his head and leaves the room. He meets Brad out in the hallway.

MULDER
Sorry that took so long, sir.

BRAD
It’s all right. We both know low-lifes
like this like to get up on their
soapbox. You kept trying the entire
time, and what’s important is that you
got a name that we can cross reference
with the missing persons database, plus
a location where we can start a search.

MULDER
I’ll call up to the field office
in Boston, and alert them to this
case. See if they have the manpower
to lend to begin searching parks in
Woonsocket, especially if any parks
have names related to “Alice In Wonderland”.
If not there, then anywhere in Rhode Island
or Massachusetts. It’s part of Roche’s
signature – always something to do with
the children’s book.

BRAD
I’ve got a few things to finish
up here before I head home. Keep
me updated on your progress.

Mulder gives him two thumbs up and heads down the hallway.

BRAD
And Agent Mulder, you’re doing a good job.

Mulder glances back at him with a grin on his face. It feels so good to actually be working cases rather than sitting around downstairs in the basement office not doing a thing.

Brad heads to the elevator to head up to his office on the fourth floor. The elevator doors close and he lets out a heavy sigh. While he was in the Observation Room, he received a call from Monica. She told him that she, Dana, and John would be back in D.C. by 4 o’clock this afternoon. That was two hours ago. She informed him that Harvey had requested federal protection for his cooperation, and that John had punched Harvey.

Brad’s sure he’ll have to deal with Doggett before the day is done.

After the call, Brad called up to the New York field office and spoke with ADIC Thompson, giving him the name Vinny Cordini, and why he needed to be brought in. He must not have been hard to find since only six hours after he called Thompson, Thompson called back to let him know Cordini is in their custody.

Brad called Monica and instructed her to go up to New York to work with Thompson’s agents on the case. He requested that John and Dana return to D.C. John because of his assault on Harvey. Dana because he honestly does not want her on this case after he saw her reactions to Barker yesterday. His gut tells him that she’s sensitive to working sex crime cases, especially when it involves pedophiles.

The elevator doors open and Brad steps out and heads to his office. Kim Cook is still at her desk outside his office door.

BRAD
You’re still here?

KIM
Just helping you stay on top of
things, plus it’s not like I have
anyone to go home to. (beat) Agent
Reyes just called to let you know
that Harvey has been entered into
WITSEC.

BRAD
Sure can be quick when they need
to be, huh? (beat) Why don’t you
go home, it’s been a long day.

KIM
Thank you, sir.

Kim smiles.

KIM
You try to have a nice night, sir.

BRAD
You too, and thank you for
your hard work today.

KIM
You’re welcome.

Kim grabs her purse and leaves.

Brad enters his office. In less than an hour he’ll have been here for twelve hours. He sits down at his desk and sees that Kim has organized the files he had left behind earlier in the day.

There’s a knock on his door. He looks up and sees John Doggett in the doorway, he looks defeated.

DOGGETT
Assistant Director, may I speak
with you for a moment?

Brad looks at him, this is not what he expected. John’s calm.

BRAD
Come in, Agent Doggett.

Doggett approaches the desk. He does not take a seat. Instead, he takes out his FBI badge and weapon and lies them down in front of Brad, on the desk.

DOGGETT
Agent Reyes informed me that she spoke
to you about my actions this morning.
I just wanted to say first that I know
what I did was unprofessional and inappropriate,
and that I deserve whatever suspension
you hand me. Hell, I probably deserve a four-bagger.

BRAD
You’ll get a letter of censure
and a two week suspension.

Doggett nods his head. He’s a better agent than what he showed earlier in the day.

BRAD
Thank you for coming in here and
doing the right thing.

DOGGETT
I had a talk with Agent Scully.
She uh… made me see reason.

BRAD
She’s good at handling situations like that.

Brad senses that Doggett wants to stick around for some reason. He checks his wristwatch: 6:37 P.M.

BRAD
It’s nearly twenty till seven.
Why don’t I walk you out of here
and we both head home?

DOGGETT
That beats having a security escort.

Brad and John head out of the office. Brad locks his office door behind him.

DOGGETT
Can we talk off the record?

BRAD
We’re officially off the clock.

DOGGETT
I want the FBI to do whatever
it can to prevent Bob Harvey
from being entered into WITSEC.
He may not have killed Luke, but
he took him and molested him.
A man like that needs to be brought down.

BRAD
Monica left a message not too
long ago to let me know Harvey
has been entered into WITSEC.
I’m sure the U.S. Marshalls got
him set up as soon as Cordini was
in custody and questioned about
his involvement in Luke’s death.

Doggett takes a deep breath. This news infuriates him, but there’s nothing he can do about it now. Even if he went to the U.S. Marshalls to find out where they placed Harvey, they can’t disclose that information.

BRAD
Just remember that this Harvey
led us to Luke’s killer. We can
bring that man to justice now.

DOGGETT
What’s done is done, right?
There’s not much we can do now.
I guess I should call Barbara
and let her know this has happened.

They get to the elevator and head to the parking garage. They are quiet the entire time they are in the elevator. The doors open and they are in the parking garage.

They walk, heading to their cars.

BRAD
How’s Dana doing? She was quite
shaken yesterday when she spoke with Barker.

DOGGETT
She’s quite the professional.
Though last night she mentioned
not wanting to be alone… that
she needed me there with her.

Doggett rubs the back of his neck.

BRAD
There’s something else?

DOGGETT
Not really, only that I had
hoped she was going to finally
open up to me. I mean I know
that she’s been through some
pretty bad stuff, but she won’t
talk about it with me. I wish
she would, it would only help.

BRAD
You’re good for each other, John.
Remember these things can take
time. Mon’ and I are dealing
with problems too. You’ve got to
stick with it, be there for her.

DOGGETT
I’m doing the best I can.

Doggett gets to his truck.

DOGGETT
I’ll see you around.

BRAD
Take care of yourself.

Doggett gets into his truck and starts the engine and drives off.

TIME CUT TO:

EXT. MORGAN FAMILY HOME – 3:00 P.M.
WOONSOCKET, RHODE ISLAND
TUESDAY – JUNE 7, 2005

Mulder pulls up in front of the Morgan’s home in his gray Bucar. It’s been three days since the body of Caitlin Elizabeth Morgan was found in an isolated area not too far from Cheshire, MA. The lab techs were able to positively identify the skeleton of the young girl after the Morgan family was contacted and asked to provide the FBI with any DNA they may still have from their daughter after all these years. It didn’t take long for the lab to confirm a match once the sample arrived at the lab.

Mulder sighs, it’s been a long past six days that he’s been up working with agents from the Boston field office, and now, finally, he can tell the Morgan’s that they found their daughter, which will bring the family some closure.

Mulder gets out of the car and walks up to the front door of the house and knocks three times.

After a few seconds an older woman (late 50s) answers the door, this is Caitlin’s mother, Carol.

CAROL MORGAN
Agent Mulder, so good to
see you again.

MULDER
May I come in?

CAROL MORGAN
Of course. Would you like
something to drink? Water? Juice?

Carol leads Mulder into the living room. He looks around, there are still framed photos of Carol, her husband, and Caitlin sitting on the top of end tables and hanging on the wall. She was a cute little girl, dirty blond hair, blue eyes, pudgy cheeks and a smile to melt even the coldest of hearts.

MULDER
I’m ok, but thank you anyway.

CAROL MORGAN
I assume you’re here to tell
me how the DNA verification went.

Carol sits down on the couch and Mulder sits across from her in an armchair.

MULDER
The results came back a match.

Carol’s eyes well up with tears, and she places her hand over her mouth.

CAROL MORGAN
(soft, more to herself)
My sweet baby girl… (to Mulder)
Can you tell me what happened, or
do you not know?

Mulder looks at her with sad eyes. This is always the hardest part of cases like this, informing the family.

MULDER
Her remains were found in a wooded
area up near Cheshire, Massachusetts.

Mulder pauses to rethink his approach.

MULDER
The man who hurt her is dead.
He has been for nine years now.
Before he was killed, he was locked
away for similar crimes. He spent
six years in prison before his death.

Carol wipes a tear from her eye and gives Mulder a soft smile.

CAROL MORGAN
It feels like such a relief, you
know? Finally knowing what happened.

Mulder nods his head, he can imagine what a relief it must be to find out what really happened to a missing loved one, even if in the end, it turns out they are dead.

For a moment he thinks of Samantha.

CAROL MORGAN
These past thirty-one years I’ve
imagined that Caitlin may be alive,
living with the person who took her.
If her little body was spared years
of suffering because her kidnapper
killed her… I’m glad it ended this way.
I know that sounds horrible of me, but
it’s the truth.

MULDER
It’s not horrible to feel that way, it’s normal.

Carol nods her head, glad to hear that what she’s feeling is normal.

CAROL MORGAN
Well, I shouldn’t be taking up any
more of your time. I’ve got some
family to call now, and you’ve got
to get back out there and do your
best to stop more monsters.

Carol stands up as does Mulder. They walk to the front door. Carol extends her hand to shake his.

CAROL MORGAN
Thank you so much… for everything.

Mulder shakes her hand.

MULDER
You’re welcome. (beat) If you need
anything else having to do with
your daughter, don’t hesitate to call
me, or the field office in Boston.

Mulder steps out of the house.

MULDER
Take care, ma’am.

CAROL MORGAN
You know I will.

Carol shuts the door and Mulder lets out a heavy sigh. A sigh of relief. Finally, after all these years, all the families of Roche’s victims have closure. He puts his hands in his pants pockets and strolls back to his car, a small grin on his face.

Once in the car, he retrieves his keys and is about to start the engine. However, pain stings his heart. He’s thinking of Samantha. About how it seems he’ll never find out what happened to her. Is she dead? Is she alive? Does she remember him if she is alive? What would she look like today? Would he recognize her if he walked by her on the street?

He pulls out his wallet from his pocket and opens it up. He flips through the pictures until he gets to one of him and Samantha when they were kids. It’s an old, worn photograph. Mulder’s favorite. He stares at it for a long time. He chokes back tears and bites his lower lip to keep from crying. How is it that he’s been with the FBI for so long and still has no leads on his own sister’s disappearance? Why must he continue to suffer without closure all these years? Mulder closes his wallet and sets it on the passenger seat.

He turns the key to start the engine, and he rests his hands on the steering wheel to help him regain his composure.

After a minute, he picks up his cell phone and dials Scully. A few seconds later she picks up.

SCULLY
(filtered)
Agent Scully?

MULDER
Scully. It’s over.

SCULLY
(filtered)
Oh God… Mulder… I hate to say
this, but now really isn’t a good time.

Mulder hears worry in her voice.

MULDER
What’s going on?

CUT TO:

INT. BRAD FOLLMER’S OFFICE – CONTINUOUS

Scully is standing in the corner of the room, her back to Brad and John who are at Brad’s desk. The tension is thick and it’s eerily quiet.

SCULLY
(quiet, into phone)
Remember last time we talked I told
you we found the guy who killed John’s son?

MULDER
(filtered)
Vinny Cordini?

SCULLY
A.D. Follmer got a call an hour
ago from where Cordini is being
held. He’s confessed that he lied
and that he didn’t kill Luke.

Mulder is quiet on the other end of the phone.

MULDER
(filtered)
What about that guy who we
put into Witness Protection?

SCULLY
Brad pulled some strings with the
U.S. Marshalls and got them to give
us the location where they placed Harvey.
Field agents in Missouri are working with
the U.S. Marshalls to bring him back in.
We’re waiting to hear back from them now.

Scully sniffles back a cry and quickly wipes a tear from her face. Mulder hears this.

MULDER
(filtered)
Scully…

SCULLY
Mulder, I’m fine. (beat) It’s just
hard watching John this past week,
seeing all the emotions he’s going
through. I mean not even a week ago
he thought his son’s killer was found
and now this…

Brad’s office phone rings. Scully looks back at John and Brad. John’s eyes are sad, tired, worried. His expression asks for her to come be with him.

SCULLY
Mulder, I’ve got to go.
We can talk later, ok?

MULDER
(filtered)
I’ll be back soon.

Scully turns off her phone and goes to sit down next to John while Brad speaks on the phone. By the look on Brad’s face, Scully and Doggett can tell something is terribly wrong. Scully takes hold of Doggett’s hand.

Brad hangs up the phone and lets out a heavy sigh. This can’t be good.

BRAD
They got to Harvey’s new address
and he wasn’t there. The place
looked as if he up and left in a hurry.

Doggett squeezes Scully’s hand unknowingly. She can feel the anger inside him.

DOGGETT
What does that mean?

He knows what it means, he just can’t believe this has happened.

BRAD
It means we were being played.
My guess is that somebody in
New Orleans is dirty, heard
Headquarters was sending agents
down to question Harvey. So plans
were made for him to hand over a
decoy so he could use us for protection.
Then he got his protection and quickly
disappeared so we couldn’t find him.

DOGGETT
(angry)
So what? That’s it? There’s nothing
more we can do?

BRAD
No.

Doggett quickly glances at Scully, hoping that maybe she can provide a miracle solution.

DOGGETT
So both the man who took my little
boy, and the identity of the man
who killed him are out of our reach?

Doggett angrily stands up, letting go of Scully’s hand. He runs his hand through his hair. Scully looks up at him, she’s concerned and worried for him.

SCULLY
(soft)
John…

Brad and Scully can tell that John is trying to think of something to say to show them exactly what he’s feeling, but no words come out of his mouth. Instead, he sits down on the couch in the back of Brad’s office, and covers his face with his hands and cries.

Scully and Brad exchange glances, they don’t know what to say to make things better. Scully stands up and goes to him. She sits down next to him, and gently rubs his back. Brad follows, but remains standing.

BRAD
John, I know there’s nothing I can
say to make things better, but remember
that Harvey is a criminal of habit.
Chances are that one day he’ll hurt
another child, and get caught. And when
that happens, the FBI will be all over him.
He will pay for what he’s done – no more
deals. We’ll do everything we can when that
day comes to find out the name of the man
who killed Luke, and you will have closure.

Doggett looks up at Brad.

DOGGETT
And how long will that take? It’s
already been twelve years… what
do I tell Barbara? That I fucked
up again and now the man that took
Luke is out there, living life as
a free man?

BRAD
I’ll call Barbara.

Doggett shakes his head and looks at the ground. He can’t believe this has happened.

The room falls silent for several beats. Doggett looks up.

DOGGETT
(weak)
So now what?

He looks Scully in the eye and sees that she’s hurting for him, this breaks her heart as much as it does his.

No answer is provided to his question, and off the hopeless silence of the room.

FADE OUT:

THE END.

 

 

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