Title: "Close To You"
Written by: Kristi
Date: July 29, 2005; August 2-3, 2005; August 7, 2005
Air Date: October 10, 2005
Series: FRVS - Episode #154
Spoilers: Past episodes of FRVS may be spoiled.
Feedback: E-mail us at firstname.lastname@example.org (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: I have had this story in the works since around
1998. In it's own way, "Close To You" is based on an experience
I experienced in my own dreams. I hope you enjoy it.
Summary: Dreams are more real than you think...
EXT. WHOLE FOOD GROCERY STORE PARKING
LOT Ė 10:35 P.M.
AUGUST 11, 2005
Rain gently falls down from the dark sky,
wetting the dry pavement of the parking lot. Monica Reyes steps out
of the grocery store, carrying a brown paper grocery bag. She looks
up at the sky and at the falling rain.
How typical, and her car is parked almost
halfway down the aisle of cars.
With a sigh, Monica makes her way through
the rain and to her car. She knew she shouldíve listened to Brad when
he told her to take an umbrella so she doesnít catch a cold like he
has at the moment.
Monica reaches her car and opens the back
door and sets the grocery bag inside. She shakes her arms as they
are relieved of the weight. After all, she mostly bought cans of chicken
soup in the hopes of curing Brad from his horrible cold. She quickly
gets in the car, and wipes the water off her face. She picks up her
cell phone and dials ďhomeĒ on her speed dial, putting the phone to
her ear as she starts the car and drives out onto the main road.
A moment later, Brad picks up on the other
end of the phone. His voice is rough and he sounds exhausted and drained.
Hey sweetie, itís me.
She can tell he isnít up to talking right
I sensed you were worried for me,
so I thought Iíd call to let you
know that Iím on my way home.
Youíre not driving, are you? Because
itís dangerous to drive while talking
on the phone. It has the same effect
as driving drunk. And it just started
to rain, making the roads slippery.
Monica smiles. He worries so much when
heís home sick.
Ok. Then Iím hanging up and
Iíll see you soon.
Monica hangs up her cell phone and switches
on the radio. ď(They Long To Be) Close To YouĒ by The Carpenters is
playing. Monica looks down at the radio. The song makes her feel uneasy,
which is unusual since she loves the song.
Monica bites her lower lip and switches
to another station. The same song is playing again, but at a different
point in the song. She gives the radio a look and then looks out at
the dark empty road ahead of her. The tall trees lining the road make
her feel enclosed in a tight box.
Monica looks down at the radio and turns
She canít help but have an uneasy feeling,
and it certainly doesnít help that sheís alone on a dark, rainy night,
in the middle of a dark empty road, surrounded by tall trees that
Monica looks at the dark trees. Anyone
could be in there... watching and waiting. Sheís dealt with homicide
cases before in which the perpetrator would follow a lone woman in
a car, pass her, and set spikes in the road miles ahead to blow out
her tires. He would then drive back to be the ďhelping handĒ, which
is when he would kidnap, rape and possibly kill his victim.
Luckily for Monica, sheís near a nice
residential neighborhood... but one can never be too careful.
Monica lets out a sigh. Sheí sick of listening
to the swooshing of the wiper blades on her window. She looks at her
radio and flips it back on.
Nothing but silence.
She gives the radio an annoyed look at
switches the station only to hear more silence.
She glances up at the road and quickly
slams on the breaks, squealing to a stop before hitting a young girl
standing soaked in the middle of the road in the rain, wearing pink
pajamas with a yellow sunflower design on the front.
Monica quickly puts her car into park,
unbuckles her seatbelt and gets out of the car. She goes up to the
little girl (age five). The little girl stares blankly into nothingness
with her dark brown eyes.
Sweetheart, are you all right?
The little girl doesnít say anything,
nor does she acknowledge Monica.
Monica kneels down to be face to face
with the little girl.
Can you hear me?
Monica gently moves a strand of wet brunette
hair away from the little girlís face. The girl looks at Monica and
into her eyes.
Where are your par-
Monica is cut off by a violent vision
of a young brunette woman being stabbed by a man wearing a black hooded
sweatshirt. Blood splatters against a white wall. A brutal scream
of murder echoes, followed by another man being stabbed by the same
hooded man. A hand falls to the ground, next to a manís body, which
lies in a pool of his own blood. The man stares blankly as Monica
blinks her eyes and is out of the vision.
She looks at the little girl with concern,
then takes hold of her hands. She turns her hands over and sees that
they are covered in blood.
(re: blood on girlís hands)
Oh my god...
The little girl releases one of her hands
from Monica and points behind her. Monica turns her head to follow
the girlís point. She stands up and turns to see a two story house.
All the lights are off and it seems to be cloaked in darkness.
Suddenly ď(They Long To Be) Close To YouĒ
by The Carpenters starts to play from the radio in Monicaís car, and
at that same moment, Monica sees dark evil surround the house.
SMASH CUT TO:
EXT. DARK ROAD Ė 11:05 P.M.
A police car sits in the middle of the
road with the lights blinking, blocking any traffic that may come
through at this time of the night. Along with the police car and Monicaís
car, there is a SUV with ďCRIME SCENE UNITĒ painted on the side. Crime
scene tape surrounds the house. A small group of neighbors have gathered
to watch with umbrellas.
Down the road a second police car is making
its way with their lights on, followed by a navy blue Bucar. The two
cars pull up and Fox Mulder gets out of the Bucar. He flashes his
credentials to the officers and makes his way over to Monica, who
is with the little girl.
The little girl is sitting in the back
seat of the first police car. Monica has an umbrella over her own
head as she stands outside, waiting for the crime scene unit to finish
their job inside.
Monica turns to face him.
This girlís parents were killed.
Weíve got a crime scene unit inside
walking the scene.
Mulder nods his head and looks in at the
little girl sitting in the car. She is wrapped in a blanket.
They already collected evidence
from her. (beat) Her hands were
covered in their blood.
How did you find this?
She was out in the middle
of the road. I almost hit her.
She told you about her parents?
Monica looks at him for a short beat.
Not exactly. Sheís autistic. (beat) I
believe she witnessed her parents death.
(beat) Besides the blood on her hands...
I... she looked me in the eyes and
I saw what happened.
Mulder nods his head.
Mulder hasnít gotten used to how Monica
keeps finding cases. Though heís a believer in psychic ability, heís
not used to working with someone so gifted. But really, there is no
x-file here. Itís just a homicide.
The only x-file here is Monica and
how she found it.
Monica looks at him, having heard his
thoughts. You can never stop true thoughts from flowing...
(after a beat)
Family services has been notified and
are coming here to get her. (beat) Melanie
has no other family in the area.
Monica motions to the little girl in the
car. Mulder nods his head.
Agent Reyes, this isnít a case we
should be investigating. Itís a
homicide and should be taken care
of by the homicide unit at the local
police department. The FBI doesnít
handle these crimes unless the crime
Mulder can sense that Monica is taking
a personal approach to this case. Heís not sure why. He gives her
a stern look.
(after a beat)
We work on x-file cases. Not homicides.
(beat) You can wait here until family
services arrives, then we can leave
this case in the proper hands of
the police department.
Monica isnít happy with this, but nods
her head because he is right.
Mulder starts to walk away from her.
one of the crime scene investigators,
officer Willows, comes up to Monica.
Monica turns to face her.
Weíve processed the scene, however,
we couldnít find anything.
This catches Mulderís attention. He makes
his way back over to where Monica is.
What do you mean you couldnít
find anything? There was blood
all over Melanieís hands.
Officer Willows nods her head.
I know, but there was no blood
inside the house. From what I
could tell, no physical wounds
on either victims.
But they are dead, right?
Sir, I had that vision. Of
course they are dead.
Officer Willows gives her a look. Vision?
This doesnít make sense...
She looks at Mulder.
I know what I saw.
(after a beat)
They are dead. Thereís just no blood.
No forced entry into the house. No
evidence of any fowl play, except
for the DBs.
Monica is at a complete loss.
I donít know. Weíll have to check
the blood that we found on the
little girl and see if we can
find a hit in CODIS.
Please let me know what you find.
Mulder looks at her. He just finished
explaining that this is not an x-file and should be handed of to the
local police department.
Officer Willows excuses herself and leaves
Mulder and Monica alone.
(after a beat)
-Yes it is Mulder. Itís an x-file.
Why? Because they were killed and
so far the evidence doesnít match
up to your vision?
Monica gives him a look. She knows what
she saw and with her ability she has learned to trust it. But perhaps
she is wrong and only imagined what she saw in her vision because
she was paranoid about being on this road. But it still doesnít explain
the blood on Melanieís hands.
When we leave tonight, we leave
this case too. (beat) Do you
understand, Agent Reyes?
Mulder walks away from her, just as family
Monica watches as Mulder talks to the
woman from family services. Suddenly, Melanie takes hold of Monicaís
hand. Monica looks down at her. She didnít even hear her get out of
the car. Melanie looks at the woman from family services. Monica sense
that she is afraid and kneels down to be at eye level with her.
Melanie doesnít look at Monica.
Itís ok to go with her.
She looks at Melanie with sympathetic
I know you are scared. I know
you donít like change, but you
have to go with her.
Melanie looks at her and quickly wraps
her arms around Monicaís neck.
Mulder comes over with the woman from
family services, Lisa Reynolds.
Agent Reyes, this is Lisa Reynolds.
Sheís with family services and is
here to take Melanie.
Monica nods her head.
Iíve informed Lisa of Melanieís autism.
Melanie, sweetheart, you need
to go with Lisa now, ok?
Melanie doesnít let go of Monica.
Come on now, child, we
canít stay here all night.
Lisa bends down and tries to take Melanie
by the arm to pull her away from Monica. Melanie screams.
Melanie, we canít have you misbehaving.
She carefully pulls away from Melanieís
hold and looks at her in the eyes. Melanie tries to run away, but
Monica stops her carefully. Melanie continues to scream.
Sweetheart... shh... look at me, Melanie.
Monica gently places her hand on the side
of Melanieís face. Melanie immediately stops screaming and looks at
Monica with tears in her eyes.
Melanie... itís ok. Youíre
going to be all right.
Melanie looks at Monica.
Itís important that you go with Lisa
so we can get to the bottom of what
happened here. (beat) So we can
catch the bad man. (beat) Youíre
going to be all right.
Monica smiles at her and Melanie smiles
back. She takes hold of Monicaí hand again. Monica slowly stands up
and looks at Lisa Reynolds.
And she wasnít misbehaving, Ms. Reynolds.
She is autistic and is very sensitive to
things. More so than you will ever understand.
You should not grab her and try to pull her
away like you did because to her that could
feel like someone taking a hammer and
pounding her arm with it.
Monica gives Lisa a glare.
If you do not think you can care
for an autistic child, then find
someone who can. (beat) She doesnít
like change and does not adapt well
to it. And what happened here tonight
has changed her life forever. (beat)
Do you understand?
Lisa Reynolds nods her head.
Monica hands Melanie over to Lisa and
they walk off. Melanie looks back at Monica as Lisa leads her to the
(after a beat)
For an autistic kid, she sure
showed a lot of emotion and
attachment to you.
Being autistic doesnít mean you are
a drone, sir. Itís only a myth that
autistic people donít show emotion,
affection, or even smile. They are
people, just like you and I, only
they are more sensitive.
Mulder nods his head.
Guess itís been a while since Iíve
studied or read up on autism. (beat)
You handled her well. Is that from
some personal experience?
No. No one I know is autistic. (beat)
Iím just in tune with people and...
I donít know, I just knew what she needed.
Monica smiles at him.
Well, we should head on out of the way.
Yeah. Poor Brad has been
waiting for me to come home.
Heís still sick?
Itís getting worse, and I think
thatís because he keeps working.
(beat) Heíll be in tomorrow only
because it is Friday. (beat) He
is not going anywhere this weekend.
Well get home and make
sure heís not too worried.
Yeah. Even though I called to let
him know about this, he still worries.
Even more so when heís sick.
Iím not sure why.
Well, Iíll see you tomorrow.
Have a good night.
Mulder walks away from her and gets back
in his Bucar.
Monica makes her way over to her car.
Her eyes notice the crowd as she unlocks her door. Her eyes stop on
a man with red hair. Their eyes meet for a brief second, and then
the man turns and starts to walk away down the road. As he walks,
he pulls the hood of his black sweatshirt over his head.
INT. DOGGETT & SCULLYíS OFFICE Ė 9:00
AUGUST 12, 2005
Scully and Monica are in the office. Scully
is sitting at her desk drinking her morning coffee. Monica sits in
a chair in front of her.
I wouldnít have let him
come in to work today.
I tried, but he said he had
too much work to do and he
didnít want to be swamped next week.
Make sure you lock him up this weekend.
I plan on it.
Suddenly, loud drilling is heard from
somewhere in the basement. Monica and Scully both out irritated sighs.
How long is Mulderís ďrenovationsĒ
going to be going on? Itís horrible.
I donít know. You should hear
No thanks. I grew up with enough
of that to last me a life time.
(beat) Where is he anyway?
He said he needed to talk
to Brad about something.
Doubt heíll have time to really
talk with Brad. Heís so busy.
I just hope heís had enough
of the noise down here and
is going higher up to do
something about making it stop.
Wouldnít that be nice.
Scully nods her head and takes sip of
INT. BRAD FOLLMERíS OFFICE
Brad is sitting at his desk reading through
a report. He looks very tired and rained. His nose is red from using
Kleenex too much. There is a knock at his door. Brad clears his throat.
He hope whomever is out there heard him
because he doesnít want to speak up again.
Doggett enters his office.
Sir, can I have a word with you?
Brad looks up at him. Heís not in the
mood to hear about more problems.
What is it?
Brad sets down the report he was reading.
Doggett approaches the desk.
I uh... I was wondering if there
have been any new developments
about Bob Harvey.
Brad lets out a sigh. Of all days to bring
this up, John had to pick today.
No. Nothing new.
We have to look into
this. That man-
Brad tries his best to sound in command.
Weíve done all that we can.
Doggett looks down. He wants to try to
convince Brad to push harder on this, but Brad just looks like hell
from his illness.
(after a beat)
Bob Harvey is out of our reach.
Brad doesnít like telling Doggett this,
but it is the truth. Doggett needs to move on. No good can come of
getting obsessed with something that is out of anyoneís control. Brad
can see the disappointment in Doggettís eyes.
(after a beat)
Heís a creature of habit, John.
(beat) Heíll get whatís coming to him.
Doggett nods his head. Heís not happy
that there is nothing they can do, but Brad is right. Someday Bob
Harvey will get whatís coming to him. But it still doesnít change
the fact that Harvey knows the identity of the man who killed Luke.
Doggett turns without a word and heads
to the door.
(after a beat)
Iím sorry, John.
Doggett turns to look at him from the
I know. (beat) But youíre right.
Doggett looks at him for a beat, then
leaves the office.
Brad looks down, wishing there was something
he could do. He picks up the report he was reading, just as there
is another knock on the door. Brad lets out a sigh.
The door opens and to much of Bradís surprise,
Alex Krycek enters the office. He wears no visitorís pass and has
(so not in the mood)
Oh for the love of god!
Krycek stands in front of his desk.
I want my job back.
Whereís your visitorís pass,
and whereís your escort?
I donít have any.
Krycek sits in a chair in front of Bradís
So can I have my job back?
No. How did you get in here?
I punched a guard and walked in.
You canít be here.
Brad picks up the phone and dials security.
This is A.D. Follmer up in OPR.
I need you to send someone up
to escort a man out of the building.
He is without a visitorís pass
and escort. (beat) Yes, Alex Krycek.
(beat) Oh, he hit you.
Brad gives Krycek a glare.
(after a short beat)
Brad hangs up the phone.
Security is on their way.
But I want my job back.
Brad glares at him. Of all days, why did
Alex Krycek have to choose today to come in...
Krycek there is no way you will
ever get your job back here. Not
even Hell freezing over will change that.
Please. I really need a job-
-Canít you see how busy
I am right now?!
Brad gives him a pissed off glare.
No, what I see is someone
who should go home. (beat)
You look like Hell, man.
A security guard enters the office. He
has a small black eye forming from when Krycek hit him to get into
Your escort is here.
Krycek stands up.
He walks away from Brad and the security
guard grabs him by the arm.
Hey! Watch the suit, buster!
No problem, sir.
Krycek is dragged out of the office, and
the security guard shuts the door behind him.
Brad lets out a frustrated sigh. This
day is becoming more and more horrible. He shouldíve listened to Monica
this morning when she told him to stay home. But heíd rather get all
of Tedís (the old OPR Assistant Director) work out of the way so he
can help Monica plan their wedding. But itís becoming impossible with
the old reports and the new ones that come in. Brad is completely
Things have also been tense recently between
he and Monica. Not only because heís been so busy with OPR work and
the Director hasnít placed any agents in the office to help with the
majority of the work, but also because of when Monica lied to him
about going out on a case with Mulder when she was really at Scullyís.
He wonders why she lied to him. What is she hiding, and why wonít
she talk to him, open up to him. He can tell that she is covering
her true feelings and emotions and he wishes she would open up to
him. They havenít even spoken of what happened to her at The Facility,
or about the child they both lost. That has been hard on Brad, and
he canít even imagine how hard all of that must have been on Monica.
Then there is his job. Itís taken him
away from Monica, which might be why she hasnít opened up to him,
or even why she has been lying to him. And now he is horribly sick,
and heís sure itís from the stress of the job.
Maybe he shouldnít have accepted the OPR
position in the first place. Life would be easier right now if he
He lets out a sigh and continues to read
through the report.
INT. ARLINGTON COUNTY MORGE Ė DAY
The forensic pathologist, Dr. Galbrecht,
enters the lab and pulls out the body of Andrew Delmont, Melanieís
father. He takes out his tape recorder to record his autopsy of the
Twelve-fifteen P.M., begin autopsy
On white male, age forty-two. (beat)
I will begin with an external examination.
Galbrecht sets the tape recorder down
on a metal table.
The body is still in advanced stages
of rigor mortis, and as indicated
by Dr. Beals and Officer Willows,
the estimated time of death was 2200
hours Ė fourteen hours ago.
He looks at the hands.
There are no defense wounds on
the hands. No skin cells underneath
the nails. (beat) Post-mortem lividity
is visible on the side of the torso
and on the back, indicating that the
victim died laying on his back.
Something catches the doctorís eyes.
(getting a closer look)
There is discoloration on the abdomen.
(beat) Discoloration commonly seen
with ruptured blood vessels and internal
bleeding, yet there are no signs
of blunt force trauma to the body.
He looks pensively at the body for a moment.
(after a beat)
I will now examine the mouth.
He goes over to the head and uses a small
autopsy tool to open the mouth. Blood suddenly comes pouring out and
Galbrecht takes a step back. That has never happened before when there
have been no physical signs of injury that could cause internal bleeding.
And he has never seen this much blood in any internal bleeding case.
Off his look...
INT. ARLINGTON COUNTY MORGE Ė 3 P.M.
Mulder and Monica are led into the morgue
by Dr. Galbrecht. He takes them over to the bodies of Andrew and Carol
Delmont Ė Melanieís parents.
And blood just poured out?
Yes, as if the body was filled
with blood in the lungs, stomach
and air passages. (beat) I had
a sample run through CODIS and
I just got it back. Itís his,
which can rule out-
-Cult activity. (beat) Have you
determined what couldíve caused this?
Thatís part of the reason I
called you. (beat) There are
signs of multiple stab wounds to
both victims, but only on the
inside. There are absolutely no
signs of physical assault on the
exterior. Nothing. Not even a paper cut.
Monica and Mulder share a look. This is
To be honest, Iím having trouble concluding
what the cause of death is because I donít
understand how this is possible. (beat) But
from what it looks like on the inside,
Iíd have to say the cause is multiple stab
Wounds and the victim bled to death.
If we could have a copy of
your report, we may be able
to help you out.
Galbrecht nods his head and goes to get
his report. Heís more than happy to give this to Mulder and Monica.
He hands the report to Mulder.
Itís all in there, including photos
of the external examination.
Thank you very much.
No, thank you. I donít know
what Iíd be doing about this
without you two.
Weíll keep you informed about
anything we find.
Mulder and Monica leave the morgue.
INT. HALLWAY Ė CONíT
Guess you were right. This is an x-file.
What do you think happened?
They were killed in their dreams.
Mulder gives her a look. She sounds so
confident about that.
You know, Freddy Krueger.
ďNightmare on Elm StreetĒ.
Never saw it.
Mulder gives her a look. He thought for
sure she wouldíve seen a movie about killer dreams.
How have you never seen it?
Is it in the horror section?
Then Iíve never seen it.
She looks at Mulder and smiles.
Too scared to see any horror movies.
And here I thought youíd be there
kind of person to love them. (beat)
Anyway, Freddy Krueger aside, what
about this makes you think they were
killed in their sleep.
I didnít say they were killed in
their sleep. I said they were killed
in their dreams.
She smiles at Mulder.
I donít know really... just a feeling.
They exit the morgue. Mulder holds the
door open for her.
EXT. BUILDING Ė CONíT
Havenít you ever shared a dream with someone?
Donít know for sure, but I once
had a pedophile claim that he and
myself had some strange nexus. I
even had dreams with him in it that
were about the night my sister was taken.
He was trying to convince me,
I guess, that he took Samantha.
Thatís rather frightening, isnít it?
The fact that he could enter your
dream and see how your sister was
taken. (beat) I mean, our job requires
us to get into the minds of criminals,
yet how do we know we havenít opened
ourselves up to them in doing so?
Guess thatís the price we pay for justice.
They reach their Bucar and Mulder unlocks
Yeah, but is it always worth it?
If we can get inside them, and
they can get inside us, whoís to
say they canít kill us with their
minds? (beat) Like with the Delmonts.
Like telepathic assassins?
Not assassins, murderers. (beat)
Itíd be the perfect crime. No
evidence would be left behind.
But heíd have to choose his victims,
have motive... which is where we
come into play.
Mulder smiles and gets in the Bucar, as
INT. FBI HALLWAY Ė 3:45 P.M.
Brad steps out of the elevator and walks
down the hallway towards his office. He looks horrible and has been
working all day. Scully comes out from behind a corner in the hallway.
Sheís been waiting for him.
Brad stops walking and slowly turns to
Behind them, Robert Comer leaves Bradís
You should go home.
I have work to do, Agent Scully.
Everyone has been telling him to go home
since he came in this morning. He turns away from her and continues
on towards his office.
(the worried doctor)
Brad, as a medical doctor
Iím ordering you to go home.
I appreciate your concern, Agent
Scully, but I have a lot to do
today. (beat) If youíd like to help,
tell the Director that I need capable
agents in the office because I canít do it alone.
Scully walks with Brad into his office.
INT. OFFICE Ė CONíT
Scully pulls a thermometer out of her
pocket as Brad turns around to talk to her. Right as he opens his
mouth to speak, Scully puts the thermometer in his mouth.
What are you doing?
Keep it under your tongue, and
donít talk. So that means you
have to keep your mouth shut.
I canít breath.
A moment later she takes the thermometer
out of his mouth and looks at it. Brad goes over to his desk and sets
some files down.
(re: Bradís temperature)
Holy god, Brad. Youíre running a
temperature of 102. (beat) You
need to get some rest and cold water.
Brad isnít even paying attention to her
because a desk drawer has caught his eye. The one that he keeps locked
has been pried open. He opens the drawer.
Are you even listening to me?
Brad sees an envelope in the drawer that
wasnít there before. He looks at it suspiciously and picks it up.
Youíre going to feel worse if
you donít get rest. Iím a
medical doctor, I know.
Brad turns the envelope over and sees
ďASSISTANT DIRECTORĒ written on it in black marker.
Scully comes over to him.
Youíre temperature is dangerously
high, Brad. (beat) You need to go
home. Itís almost four in the afternoon,
and itís Friday. You wonít miss much.
(beat) Besides, most other agents are
going home anyway.
Brad looks up at her, his mind is obviously
somewhere else and not on his health or Scullyís words.
(lets out a sigh)
You have a temperature of 102. Itís
late on a Friday afternoon. (beat) Go home.
Brad looks back at the envelope in his
hands. He nods his head after a brief moment.
All right. Iíll go home.
Brad stands up from his desk.
Do you need a ride home? You look tired.
No. Iíll be fine. Thanks though.
Brad turns off his laptop and picks it
up. Scully watches him. One moment heís reluctant to leave, and now
heís in a hurry to get out of here.
Are you all right?
What do you mean?
One moment you donít want to
leave, and now youíre in a
hurry to get out of here.
You said I should get some rest and
that I have a dangerously high temperature.
(beat) I wonít get better without rest.
Scully watches him for a moment, not sure
if she believes him.
(after a beat)
INT. BRAD & MONICAíS APARTMENT Ė 4:10
Brad enters the apartment and sets his
briefcase and laptop down on the coffee table. Out of his coat pocket
he pulls out the envelope with ďASSISTANT DIRECTORĒ written on it.
He carefully opens it and several black and white photographs fall
into his hands. Photos of Monica, and as he looks through them, he
sees that she does not know her photo is being taken.
Brad leave the living room and goes into
the bedroom, going straight to the closet. He moves some boxes around
on one of the top shelves and pulls down a safe. He takes it out and
sets it on the bed, next to where he tossed the photos. He opens the
safe with a combination.
Brad digs through the safe and pulls out
an old envelope with ďBRAD FOLLMERĒ written on it in black marker
Ė similar to the envelope he received today with ďASSISTANT DIRECTORĒ
on it. He opens the envelope and pulls out more black and white photos
of Monica, this time from a few years ago when she was in New Orleans.
As with the photos he received today, Monica does not know her photo
is being taken.
Brad looks up with a pensive expression.
Why is this happening all over again? He looks back down at the two
envelopes. He canít help but see similarities in the handwriting.
He picks up all the photos and puts them
in his safe, and puts the safe away. He picks up the two envelopes
and heads out the door.
INT. FBI FORENSIC LAB Ė QUANTICO
Brad walks into the lab carrying the two
envelopes. He goes up to Agent Danny Pendrell, who is looking into
(not looking up)
One moment, please.
Brad waits patiently as Pendrell writes
a note about what heís found under the microscope. After a short moment,
Pendrell looks up at Brad and smiles.
The party never stops in the
lab. (beat) What can I do for you?
I need to know all that I
can about these two envelopes.
He holds up the two envelopes, both are
in separate plastic bags. Pendrell takes them and notices that Bradís
ID matches the name on the envelope.
Can I ask what youíre
hoping to find, sir?
I need to know if the handwriting
is by the same person, if there
is any DNA or fingerprints Ė other
than mine Ė on them. (beat) There is
a few years difference between them.
I can tell. (beat) The handwriting looks
similar, but Iím not a specialist. I can
call one in for you, but she probably
wonít get to it until next week.
Brad nods his head.
That would be helpful.
Can I ask, sir, what this is all about?
Itís an OPR investigation. I canít
discuss it. (beat) Iíd also appreciate
it if you didnít talk to anyone about this.
No problem. (beat) I can swab
the envelopes for DNA and get
back to you.
Brad pulls out one of his cards and gives
it to Pendrell.
Youíll want to call my cell,
Iím out of my office the rest
of the day.
He can see how sick Brad is. Poor guy
should be home.
Brad leaves the lab as Pendrell gets to
work on the envelopes.
INT. HALLWAY Ė CONíT
Brad walks out of the lab and bumps right
(not expecting to see her)
Monica smiles at him.
What are you doing here?
Brad looks away from her, trying to think
of a reason he could be down at the FBI lab.
I was... um...
Brad... youíre taking too long
to think about this. (beat)
Whatís going on?
Brad looks around the hallway and gently
takes Monica by the arm, stepping away from the lab door.
He stops himself.
Should she know this? Or should more
answers be found first?
What is it?
Brad looks into her eyes.
(after a beat)
Can we talk about it later?
Monica looks at him. Did he find out about
her lying about being on a case with Mulder when she was really spending
time with Robert Comer at the hospital?
Is this about...
He looks at her.
About me lying to you?
Brad looks at her and takes a step closer
to her. He looks up and down the hallway.
No, Monica. (beat) But...
I... I do know about that.
Monica looks down, breaking eye contact
with him. She feels horrible for doing that to him. Sheís not even
sure why she has felt the need to lie to him.
We can talk about that later
if you want. (beat) Iím not mad at you.
She looks up at him, a tear in her eye.
Iím sorry, I-
Brad gently touches the side of her face,
and wipes the fallen tear away.
Monica takes a deep breath to compose
herself again and then nods her head.
Then what is it? What did
you find? (beat) Are you all right?
Besides the cold. Iím fine. (beat)
Itís just... I found something and
I want more answers first.
Monica nods her head. Why canít she read
into whatís going on?
So um... howís the case coming?
I hear it was an x-file after all.
Itís coming along, I guess. (beat)
I was just coming here to see if
anyone in the lab could tell me
what kind of knife could have been
used based on what we found.
I thought you told me last night
that they hadnít been stabbed.
Thatís where the x-file lies.
Brad nods his head.
I have a theory that they were
killed in their dreams, and I believe
that Melanie somehow witnessed it.
And thatís how she got
the blood on her hands?
Sounds like a mystery.
I just hope we can find this guy.
Just keep doing what you do best.
Monica smiles weakly. She looks at him.
He looks horrible. Why is he still here? She places her hand on his
I know. Iím burning up.
You are. Iím guessing somewhere
in the hundreds.
She looks at him with caring eyes.
Sweetheart... you should go home.
I know. Iím going to. Dana
followed me into my office
earlier and stuck a thermometer
in my mouth. (beat) I have
Brad smiles at her.
Iíll see you when I get home.
She smiles at him and gives him a kiss
on the cheek, and a hug to make him feel better. She holds him close
(soft in her ear)
Te amo, Bradly.
She pulls away from him after a beat.
He smiles at her.
Weíll talk when I get home, ok?
Brad nods his head.
Now go get some rest.
I know. Iím gone.
He walks away from her, walking backwards
a few steps before turning and leaving the hallway.
Once heís out of sight, Monica enters
INT. WHOLE FOOD GROCERY STORE Ė EVENING
The grocery store is filled with people
buying their food. A mother and her son are waiting in a check out
Mommy, I want a Kit-Kat.
No, Joseph, and I donít want
to have to tell you again.
My answer is no.
Joseph pouts, trying to get his way.
Donít give me that look,
it wonít change a thing.
Please! I want it.
You canít have it, and
you know that.
The red-haired man bagging the groceries
watches the blonde-haired mother with his dark eyes as she scolds
her son. He finishes bagging up all the groceries and the mother and
child leave the grocery store. The mother continues to scold her son,
and the red-haired man watches them leave.
The red-haired man looks over at the manager.
Itís six oíclock. You can go.
Eugene, the red-haired man, nods his head
and leaves the check out area to go get his belongings before heading
out for the evening.
INT. EMPLOYEE BACK ROOM
Eugene takes off his Whole Food Grocery
Store apron and hangs it in his locker. He retrieves a black hooded
sweatshirt that he puts on before heading out the door.
TIME CUT TO:
INT. BRAD & MONICAíS APARTMENT Ė THE NEXT
AUGUST 13, 2005
Monica is sitting on the couch in the
living room looking at photos of the crime scene, along with photos
of a knife that the lab believes couldíve caused the internal wounds
on both victims.
Monica stares at the photo of the knife
and shuts her eyes.
FLASH! A vision of a vicious killing with
a similar knife flashes into her mind. At first it seems this is the
same vision that she saw in Melanie, but then realizes that the woman
in the vision is a blonde. She is stabbed repeatedly before falling
to the ground to die in a pool of her own blood. The killer stands
above her, his face covered in dark shadows from the black hooded
sweatshirt that the man wears. Suddenly, ď(They Long To Be) Close
To YouĒ by The Carpenters starts to play and the man turns, as if
looking into Monica. His eyes pierce her and give her an eerie feeling.
Suddenly, Monica is snapped out of her
vision, and Bradís hand is on her shoulder.
Monica turns to look up at him. Brad looks
tired and is in a dark navy blue terry cloth robe. He looks down at
her with concern.
Are you all right?
I heard you scream.
You screamed, it woke me up.
(beat) Are you all right?
Monica looks down, away from him. She
doesnít remember screaming. She thinks for a moment, then looks back
I was... I donít remember doing
that... I was just looking through
the photos, trying to get into this
guyís head. (beat) Iím sorry I woke you.
Itís all right.
Monica looks him over. He still looks
Did you want me to make you
breakfast or something? (beat)
What time did you fall asleep
I donít remember.
He smiles at her. He was so exhausted
yesterday when he came home that he just fell asleep and didnít even
wake up when Monica came home.
I didnít want to wake you
since you needed your rest.
Itís all right. It turns out
everyone was right and I needed
to go home and rest.
Do you feel any better?
Slightly. But maybe thatís because
itís a Saturday and I actually slept.
Monica smiles at him.
Iíll make you breakfast.
Brad nods and sits down in a chair across
the way. He picks up the remote to the stereo and turns it on.
In the mood for some music?
Anything in particular?
No. Anything you want is fine.
Brad shrugs his shoulders and presses
play to start playing the CD that is in the stereo. ďHey Man Nice
ShotĒ by Filter starts to play, and suddenly a loud crash from the
kitchen is heard. Brad stands up quickly and goes in to make sure
Monica is all right.
INT. KITCHEN Ė CONíT
Brad enters. Monica is just staring blankly
at the door.
Iíve been hearing that song
all the time on the radio.
(beat) Ever since I found that
little girl in the road on Thursday.
Monica looks at him with wide eyes as
she heads into the living room. Brad follows.
INT. LIVING ROOM Ė CONíT
Monica goes over to the stereo, Brad watches
This song means something.
Yes. It just started up in
my car on Thursday night after
the radio went out. And it was
on two stations before I stopped.
(beat) This has to mean something.
Itís a sign.
ďClose To YouĒ by The Carpenters. Yes.
it has to mean something to this case.
Maybe to the killer?
Brad gives her a really strange look.
Heís not listening to The Carpenters... far from it. Heís listening
to Filter and Richard Patrick is screaming into the microphone.
Monica... This is Filter, not The Carpenters.
Monica looks at him.
Iím sorry, what?
This is Filter.
No. This is The Carpenters.
Monica goes over to the stereo and turns
This doesnít sound like Filter to me.
She gives Brad a strange look.
ďOn the day that you were born
The angels got together
And decided to create a dream come true...Ē
Brad shakes his head. Monica looks at
him for a beat with a strange look. He goes over to the stereo and
stops it. He opens it and takes out ďShort BusĒ, the 1995 Filter album.
He holds it up for her. Monicaís eyes go wide. She looks at the stereo,
still hearing ď(They Long To Be) Close To YouĒ by The Carpenters.
But Iím hearing it right now.
Brad bends down and unplugs the stereo.
I still hear it.
She looks at him with scared eyes. What
the hell does this mean?
What does this mean?
She is close to coming to tears, not understanding
what is going on. Has she lost her mind?
I... I donít know...
The phone rings and Brad slowly goes over
and picks it up.
He watches Monica carefully as he listens
to the person on the other end.
Yes, sheís here.
He holds the phone out to her and she
She listens for a beat.
Yes, sir. Iíll be right there.
Monica hangs up the phone and looks at
Thereís been another killing.
Off her look...
EXT. HOUSE Ė DAY
The scene is similar to the first crime
scene. Neighbors surround the house, that has a couple police cars
Mulder stands outside the house talking
to one of the officers as Monica approaches them.
Is it the same?
Mulder and the officer look at her.
Almost exact. (beat) Only problem
is the victimology doesnít add up.
(beat) Catherine Witt is a single
mother with a son.
Whereís the boy?
He called the cops when he
found her this morning.
Did the boy see anything?
Nothing. He found her and thought
she was sleeping until he tried to
shake her away. (beat) Blood came
pouring from her mouth and thatís
when he dialed 9-1-1.
Monica takes a deep breath.
What do we know of the victim?
Single mother, works as a
secretary at a law firm. No
known enemies. Never quarreled
with any neighbors, theyíve all
told us she was a kind person.
Monica processes this information and
looks around the neighborhood.
(after a beat)
Do you notice something?
Weíre in the same neighborhood
as the Delmonts.
She looks at Mulder.
The killer is familiar with the area.
A comfort zone maybe?
Maybe. (beat) Still doesnít
explain the manner in which
the victims were killed.
Right now we need to find this
guy before he continues killing.
(beat) He may not be from this
neighborhood, but he is around
it often. Postman maybe, post office.
That way heíd have access to
each of the victims addresses.
But does he actually need the address
if he is killing them without actually
Monica thinks. This case is almost impossible.
There is no forensic evidence. No latent fingerprints. No leads. And
the only witness is a five year old autistic child, but how much of
her account could any judge or jury believe if Monicaís theory is
correct and she saw the killing in her dream as it was happening.
We need to stop him, Mulder.
We need to find him before
he kills again. (beat) I know
of only one person who can begin
to give us a description.
Monica gives Mulder a look and he knows
exactly who she is talking about.
INT. ALEXANDRIA POLICE DEPARTMENT Ė DAY
Mulder and Lisa Reynolds, the woman from
family services, are standing in an observation room looking into
what looks like a kids playroom where Monica and Melanie are. Monica
is talking quietly to Melanie, and Melanie continues to play with
a little doll.
Youíre partner isnít going to
get much from her.
Agent Reyes has ways of getting
people to open up.
Lisa gives him a look. She doubts theyíll
get anything from Melanie.
They watch on and the room gets very quiet
and Monica and Melanie just look at each other in the eyes. Nothing
is said between them for a long time.
A few minutes later, Monica leaves the
playroom and enters the observation room.
I told you that she wouldnít give you much.
Sir, can I speak with you out here?
Mulder nods his head and leaves the observation
room with Monica.
INT. HALLWAY Ė CONíT
Mulder looks at Monica.
I saw him, Mulder. (beat) In
her vision. (beat) I know him.
Iíve seen him before. (beat) He
was at the first crime scene, but
thatís not only where I know him from.
Wait, what do you mean you saw him?
Through Melanie. She let me.
Are you saying that sheís psychic?
To an extent. (beat) But I know
the man who committed these crimes.
(beat) He works at the grocery store
I go to. He bags the groceries. He
killed Melanieís parents, and he killed
Catherine Witt. (beat) I know this because
Iíve also seen him. Earlier today, before
you called, I had a vision of Catherineís
murder. (beat) He looked right at me.
Mulder takes a deep breath. How does one
take all of this in?
The only problem is that we donít
have any physical evidence that
this man youíve seen in your visions
has killed anyone.
We can at least go question
him. Try to get a confession.
(beat) Maybe we could even lock
him up until we can find something
to convict him. (beat) He did it. I know it.
Mulder looks at her. Itís a leap, but
itís not like heís never taken wild leaps before. At least in Monicaís
case she has her psychic ability to guide her.
All right. Weíll go talk to him.
INT. WHOLE FOOD GROCERY STORE Ė 3 P.M.
Mulder and Monica walk into the grocery
store and find the manager on duty. They flash their badges.
Iím agent Mulder, this is Agent
Reyes. (beat) We need to speak
with one of your employees.
Monica looks around the front of the store,
looking at all the people who are bagging groceries. She spots the
red-haired man she saw at the first crime scene, the same man she
saw in all her visions.
Thatís him. Over there.
She points at Eugene, who is bagging groceries.
Mulder and the Manager follow to who she is indicating.
Eugene? He wouldnít hurt a fly.
We need to speak with him.
Iím afraid you wonít get much
out of him. (beat) Heís autistic.
And he works here?
Heís done well for himself,
adapted nicely. Heís still
cared for by close family.
Mulder nods his head and the manager goes
off to get Eugene.
INT. EMPLOYEE BACKROOM Ė WHOLE FOOD GROCERY
Ė TEN MINUTES LATER
Eugene is sitting in a chair with Monica
in front of him. Mulder stands behind them, observing the scene.
Eugene is not looking at either one of
them in the eye. He looks off to the corner of the room, avoiding
He doesnít acknowledge her at all.
Donít pretend you donít want
to look at me. (beat) Weíve
made eye contact before. (beat)
Do you remember, Eugene?
Eugene doesnít look at her.
It was Thursday night, wasnít it?
(beat) You were standing outside
the house of Andrew and Carol Delmont.
Remember? (beat) It was raining and
there were cop cars there.
Monica watches him and he doesnít look
Why were you there, Eugene?
Can you tell me that?
Eugene ignores her and looks up at the
Mulder steps forward and whispers in Monicaís
Weíre getting no where with him.
(beat) Letís go.
Monica looks at Eugene for one more moment
before leaving. She knows he did it, but thereís no way to make him
talk, and there is no way to prove that he killed those people. Monica
gets up and she and Mulder walk towards the door.
Eugene stands up as well and stares at
Monica as she leaves the room. Before shutting the door, Monica looks
back at him and their eyes meet for a brief second before he looks
Monica walks away with an uneasy feeling...
INT. BRAD & MONICAíS APARTMENT Ė BEDROOM
The lights are dimly lit and Monica is
sleeping peacefully in her bed, when suddenly her eyes pop open, having
the feeling that she is being watched. She sits up and bed and looks
over to where Brad is. But Brad is not there.
She hears a noise in the kitchen. She
smiles. Brad is still sick and doesnít wake her when heís thirsty
when he knows he can. She gets up from bed and leaves the bedroom.
Monica enters the kitchen and it is empty.
She looks around, but does not see him.
SUDDENLY, Monica is attacked from behind
and falls to the ground. She turns over to be face to face with Eugene
who looks down at her with his dark piercing eyes. He pulls a knife
out and comes towards her.
Monica eyes wide. How the hell did he
get in here? Unless... this isnít real and heís not here. Monica quickly
gets up to her feet and backs away from him.
ď(They Long To Be) Close To YouĒ by The
Carpenters starts to play from somewhere in the apartment.
He canít hear you, Monica.
Eugene makes his way to her and she quickly
runs away from him and into the bedroom, slamming the door behind
her. She frantically looks around the room for something to defend
herself with. She runs to the closet and knocks down the safe Brad
opened the other day. It opens and a gun falls out. She picks it up
and quickly turns around, only to be face to face with Eugene. He
quickly knocks the gun out of her hand.
Why are you doing this?
He doesnít say a word to her and simply
knocks her to the ground, making her feel powerless and as if she
canít move. He kneels above her and puts his knife in the air. Monica
tries to scream for help, but she cannot. She feels as if she is suffocating.
She shuts her eyes as Eugeneís knife comes down to her. She forces
her eyes open and looks into his.
FLASH! She looks into his eyes and sees
his life Ė specifically what is making him do the things heís done.
She sees his mother. She is pregnant and doing cocaine. He is born
and has autism because of her. The visions continue and she sees Eugene
at ten years old watching his mother as she shoots herself in the
head. The song ď(They Long To Be) Close To YouĒ plays from somewhere
in the room. She dies in front of him and he has no one. He is handed
off from foster home to foster home. Abusive foster parents, neglecting
foster parents, mental hospitals and doctors trying to treat him for
Monica finds the strength inside of her
to move her arms, just as Eugeneís knife touches her skin, preparing
to kill her like he did his other three victims. Monica wonít take
this, sheís stronger than the others Ė in her own mental way. She
grabs Eugeneís neck and quickly snaps it like a Marine.
Eugene vanishes and Monica wakes up with
Brad is hovering over her with a concerned
look on his face.
Monica looks around the room and realizes
that she is awake. She looks up into Bradís eyes. She sits up and
Darling, whatís wrong?
He was going to kill me.
That man who killed the others.
(beat) He came for me and tried
to kill me.
It was just a bad dream, Monica.
Monica pulls away from him and looks at
him. She shakes her head ďnoĒ.
No. I feel it. Right here.
She holds her stomach to where Eugene
almost stabbed her like he did the others.
Itís sore. But I stopped him.
I snapped his neck and he disappeared.
Brad looks into her eyes. She is truly
It was only a dream... Youíre
ok now. Youíre safe.
Monica looks at him and nods her head.
Maybe sheís just paranoid. But what if sheís not and Eugene found
her like he somehow found the others. She tapped into his mind, and
he tapped into hers. She knows it.
Monica lies back down in bed. Brad watches
Are you ok?
Iím scared. (beat) I mean, these
other people were killed by him
in their dreams, Brad. (beat) Itís
not just a dream. It really happened...
Just... at a different... level of being.
Monica looks at him in all seriousness,
and off her look, we...
TIME CUT TO:
INT. MONICA REYESíS OFFICE Ė FBI HEADQUARTERS
AUGUST 15, 2005
Monica enters her office carrying a cup
of coffee in her hands. She sets her purse down on her desk, along
with her coffee. There is a knock on her door and she turns around.
Good morning, sir.
I thought Iíd come tell
you that yesterday, police
found Eugene Klein dead
in his apartment.
Monica looks at him with a blank expression.
How did he die? Do you know?
His neck had been snapped.
(beat) The PD is looking
into it. (beat) Strange thing
is... there was no forced entry
into the apartment, and his neck
wasnít discovered until the autopsy.
(beat) Seems like the mystery continues.
(beat) Unfortunately there isnít much
anyone can do if this is another dream
killing. You know?
Monica doesnít say anything. In her dream
she snapped his neck in self-defense and now heís turned up dead.
Is she any better than Eugene Klein? What if she canít control the
ability that she has to do something like that and she hurts someone
Anyway... thereís nothing more we can
do on this case. (beat) It will forever
remain unsolved, unfortunately. (beat)
We donít have enough evidence to move forward.
Monica nods her head.
I expect the case report later today.
Mulder nods his head and leaves her office.
Monica sits down at her desk and tears
come to her eyes. No justice has been given to these families. No
closure. All she knows is that the killer is dead because she killed
him in self-defense in her dream. But no one would believe that, therefore
giving no closure to the families of the victims. She turns on her
computer to type up a case report. But finds herself unable to concentrate
on it and tears come to her eyes.
Why does any of this matter? If justice
canít be brought, what is the point of the work they do here? Monica
covers her face and starts to cry. She canít take this anymore and
needs out. Especially considering her ability put her at risk with
a murderer who almost killed her in her dreams. She canít be around
these kinds of situations anymore. She was only kidding herself when
she jumped back into work so soon after being released from The Facility.
Monica looks around her office and takes
a deep breath, trying her best to compose herself. But itís useless.
Sheís unhappy here. This place is not helping her to get better...
TIME CUT TO:
INT. FBI HALLWAY Ė 1:15 P.M.
The elevator dings open on the fifth floor
of the building and Monica walks into the hallway. The hallway is
pretty much empty since most of the high up directors of the FBI take
longer lunches than everyone else... that is, everyone except Brad,
who, despite still feeling under the weather, only takes an hour.
Monica makes her way to Bradís office.
INT. OUTER ROOM OF BRADíS OFFICE Ė CONíT
Monica comes in and Kim Cook smiles at
Agent Reyes, what can I do for you?
Is he in?
Heís pretty busy, but Iím sure
he could use a break from reading
all of those reports. (beat) Go on it.
Monica goes over to Bradís office door
and opens it and quietly enters the office.
INT. BRADíS OFFICE Ė CONíT
Brad sits at his desk reading through
a report. Monica quietly comes over and sits down in front of him.
He doesnít notice her.
Brad quickly looks up, startled since
he didnít hear her come in.
Hey. I didnít hear you come in.
Monica forces a smile.
What is it?
He can sense that something is wrong.
I need to talk with you off the record.
He sets down the report and takes off
What is it?
Monica looks down and takes a deep breath.
Eugene Klein was found killed
in his apartment. (beat) His
neck was snapped Ė just like
how I did in my dream.
Brad listens to her.
I canít do this anymore, Brad.
(beat) I canít go on day after
day with the possibility of opening
my mind up to criminals. I donít
think- I donít want to do this anymore.
What are you saying?
This case was hard on me. I know
I didnít show it Ė I donít show
a lot of things to be honest. But...
I donít think I should be an FBI
agent anymore. Itís not what I need
right now. (beat) Itís a tough job
and Iím not cut out for it. I donít
know if I ever was. But if I want
to get better, I... I need to leave.
Monica starts to cry. Brad comes over
to her and kneels in front of her.
Hey... Itís all right...
Iím a failure, Brad.
She looks up at him.
Iím a failure in everyway. I canít
do my job here Ė and itís all I know.
(beat) Iíve lied to you about going
on a case when really I was visiting
Robert in the hospital. I havenít told
you about him even though I know you are
curious about him ever since you saw him
give me a kiss on my forehead after he
got me out of Sing Sing. (beat) I... I
hate that Iím hear because it makes me
feel I have to be stronger than I am. (beat)
I hate pretending to be someone Iím not.
And I just canít do this anymore.
She starts to cry again and Brad wraps
his arms around her.
If you want that, then do it.
Do what makes you happy, Monica.
He kisses her on the top of her head.
She pulls away from him and he looks at
Iíve been smoking a little to
deal with things. (beat) I donít
want to smoke anymore, Brad, but
I... I just... deal with things wrong.
She continues to cry. This comes as a
shock to Brad. He had no idea she was smoking again.
Help me stop.
She looks at him with desperate eyes.
He shakes his head.
Ok. Iíll help you.
Monica takes a deep breath to calm herself.
Robert Comer is an ex-boyfriend of
mine from New Orleans. We were engaged,
and I left him two weeks before the
wedding. He still loves me, and I get
so confused when Iím around him. (beat)
Thatís where I was when I lied and said
I was going on a case with Mulder. I didnít
mean to hurt you and I donít want you mad
at me because of this. (beat) Itís just...
Itís been hard for me ever since Iíve
been back. (beat) I donít know what to do.
Her deep breath to calm herself wasnít
deep enough. She starts to cry again.
Iím so sorry. Iíve just been awful to you.
She looks away from him, and down at her
Monica... Iím not mad at you. (beat)
Iím glad you are opening up to me.
(beat) We can work through this, ok?
He gently lifts her chin so she can look
at him in the eyes.
Weíre going to be ok, ok?
He looks at her reassuringly. Monica looks
into his eyes and nods her head.
But I need to resign.
Then do that. Resign because
that is what is best for you.
Iím a fa-
-No youíre not. Youíre not
a failure. (beat) Youíre just
doing what is right for your life.
And that is not failing.
Brad smiles at her and she nods her head.
She wraps her arms around him and pulls him close to her. She rests
her head on his shoulder.
Iím afraid, Brad...
Of me. (beat) I killed that
man with my mind. In my dream.
(beat) What if I... what if
I hurt someone I love?
Brad doesnít know what to say to that.
I donít know. (beat) But I do
know that you are a caring and
loving person. You could never
hurt anyone you love, Monica.
He holds her close to him and she hold
tightly onto him, feeling safe in his arms. He kisses her on her cheek
and a tear falls from her eye.
Off this, we...