"Fox & Rat" Virtual Series - Season Eight

 

Review By: Gothic Spook

"It was just a bad dream, Monica." - Brad Follmer

Boy does he wish that were true!

In this amazing episode Monica finds a case, any of you ever seen the film "Nightmare On Elm Street"? If you think that was scary, you need to read this!

Monica finally opens up to Brad and decides on a life changing decision ... you have to read the episode to find out what that decision is!

 

 

 

8x06 "Close To You"

Title: "Close To You"
Written by: Kristi
Date: July 29, 2005; August 2-3, 2005; August 7, 2005
Air Date: October 10, 2005
Rating: PG
Series: FRVS - Episode #154
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: 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...


FADE IN:

EXT. WHOLE FOOD GROCERY STORE PARKING LOT Ė 10:35 P.M.

ALEXANDRIA, VIRGINIA
AUGUST 11, 2005
THURSDAY

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.

BRAD (FILTERED)
Hello?

MONICA
Hey sweetie, itís me.

BRAD (FILTERED)
Hey.

She can tell he isnít up to talking right now.

MONICA
I sensed you were worried for me,
so I thought Iíd call to let you
know that Iím on my way home.

BRAD (FILTERED)
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.

MONICA
Ok. Then Iím hanging up and
Iíll see you soon.

BRAD (FILTERED)
Ok.

MONICA
Bye.

BRAD (FILTERED)
Bye.

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 it off.

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 block sight.

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.

MONICA
(concerned)
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.

MONICA
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.

MONICA
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.

MONICA
(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.

MULDER
Agent Reyes.

Monica turns to face him.

MULDER
What happened?

MONICA
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.

MONICA (CONíT)
They already collected evidence
from her. (beat) Her hands were
covered in their blood.

MULDER
How did you find this?

MONICA
She was out in the middle
of the road. I almost hit her.

MULDER
She told you about her parents?

Monica looks at him for a short beat.

MONICA
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
Ok.

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...

MONICA
(after a beat)
Family services has been notified and
are coming here to get her. (beat) Melanie
has no other family in the area.

MULDER
Melanie?

Monica motions to the little girl in the car. Mulder nods his head.

MULDER
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
crosses jurisdictions.

MONICA
But-

MULDER
(stern)
-Agent Reyes.

Mulder can sense that Monica is taking a personal approach to this case. Heís not sure why. He gives her a stern look.

MULDER
(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.

OFFICER WILLOWS
Agent Reyes.

Monica turns to face her.

MONICA
Yes?

OFFICER WILLOWS
Weíve processed the scene, however,
we couldnít find anything.

This catches Mulderís attention. He makes his way back over to where Monica is.

MONICA
What do you mean you couldnít
find anything? There was blood
all over Melanieís hands.

Officer Willows nods her head.

OFFICER WILLOWS
I know, but there was no blood
inside the house. From what I
could tell, no physical wounds
on either victims.

MULDER
But they are dead, right?

MONICA
Sir, I had that vision. Of
course they are dead.

Officer Willows gives her a look. Vision?

MONICA
(to herself)
This doesnít make sense...

She looks at Mulder.

MONICA
I know what I saw.

OFFICER WILLOWS
(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.

OFFICER WILLOWS
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.

MONICA
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
I will.

Officer Willows excuses herself and leaves Mulder and Monica alone.

MULDER
(after a beat)
Agent Reyes-

MONICA
-Yes it is Mulder. Itís an x-file.

MULDER
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.

MULDER
(authoritative)
When we leave tonight, we leave
this case too. (beat) Do you
understand, Agent Reyes?

MONICA
Yes, sir.

Mulder walks away from her, just as family services arrives.

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.

MONICA
Melanie...

Melanie doesnít look at Monica.

MONICA
Itís ok to go with her.

She looks at Melanie with sympathetic eyes.

MONICA
(soft)
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.

MULDER
Agent Reyes, this is Lisa Reynolds.
Sheís with family services and is
here to take Melanie.

Monica nods her head.

MULDER
Iíve informed Lisa of Melanieís autism.

MONICA
(to Melanie)
Melanie, sweetheart, you need
to go with Lisa now, ok?

Melanie doesnít let go of Monica.

LISA REYNOLDS
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.

LISA REYNOLDS
(stern)
Melanie, we canít have you misbehaving.

MONICA
(calm)
Melanie.

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.

MONICA
(calm)
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.

MONICA
(calm)
Melanie... itís ok. Youíre
going to be all right.

Melanie looks at Monica.

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.

MONICA
(quiet)
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.

MONICA
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.

LISA REYNOLDS
Yes, maíam.

Monica hands Melanie over to Lisa and they walk off. Melanie looks back at Monica as Lisa leads her to the car.

MULDER
(after a beat)
For an autistic kid, she sure
showed a lot of emotion and
attachment to you.

MONICA
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.

MULDER
Guess itís been a while since Iíve
studied or read up on autism. (beat)
You handled her well. Is that from
some personal experience?

MONICA
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.

MULDER
Well, we should head on out of the way.

MONICA
Yeah. Poor Brad has been
waiting for me to come home.

MULDER
Heís still sick?

MONICA
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.

Mulder smiles.

MULDER
Well get home and make
sure heís not too worried.

MONICA
Yeah. Even though I called to let
him know about this, he still worries.
Even more so when heís sick.
Iím not sure why.

Mulder smiles.

MULDER
Well, Iíll see you tomorrow.
Have a good night.

MONICA
You too.

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.

FADE OUT:

FADE IN:

INT. DOGGETT & SCULLYíS OFFICE Ė 9:00 A.M.

AUGUST 12, 2005
FRIDAY

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.

SCULLY
I wouldnít have let him
come in to work today.

MONICA
I tried, but he said he had
too much work to do and he
didnít want to be swamped next week.

SCULLY
Make sure you lock him up this weekend.

Monica smiles.

MONICA
I plan on it.

Suddenly, loud drilling is heard from somewhere in the basement. Monica and Scully both out irritated sighs.

SCULLY
Not again.

MONICA
How long is Mulderís ďrenovationsĒ
going to be going on? Itís horrible.

SCULLY
I donít know. You should hear
John complain.

MONICA
No thanks. I grew up with enough
of that to last me a life time.
(beat) Where is he anyway?

SCULLY
He said he needed to talk
to Brad about something.

Monica nods.

MONICA
Doubt heíll have time to really
talk with Brad. Heís so busy.

SCULLY
I just hope heís had enough
of the noise down here and
is going higher up to do
something about making it stop.

MONICA
Wouldnít that be nice.

Scully nods her head and takes sip of her coffee.

CUT TO:

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.

BRAD
(rough, strained)
Come in.

He hope whomever is out there heard him because he doesnít want to speak up again.

Doggett enters his office.

DOGGETT
Sir, can I have a word with you?

Brad looks up at him. Heís not in the mood to hear about more problems.

BRAD
(somewhat reluctant)
What is it?

Brad sets down the report he was reading. Doggett approaches the desk.

DOGGETT
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.

BRAD
No. Nothing new.

DOGGETT
(determined)
We have to look into
this. That man-

BRAD
-John.

Brad tries his best to sound in command.

BRAD (CONíT)
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.

BRAD
(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.

BRAD
(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.

BRAD
(after a beat)
Iím sorry, John.

Doggett turns to look at him from the door.

DOGGETT
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.

BRAD
Come in.

The door opens and to much of Bradís surprise, Alex Krycek enters the office. He wears no visitorís pass and has no escort.

BRAD
(so not in the mood)
Oh for the love of god!

Krycek stands in front of his desk.

KRYCEK
I want my job back.

BRAD
Whereís your visitorís pass,
and whereís your escort?

KRYCEK
I donít have any.

Krycek sits in a chair in front of Bradís desk.

KRYCEK
So can I have my job back?

BRAD
No. How did you get in here?

KRYCEK
I punched a guard and walked in.

BRAD
You canít be here.

Brad picks up the phone and dials security.

BRAD
(into phone)
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.

BRAD
(after a short beat)
Thank you.

Brad hangs up the phone.

BRAD
Security is on their way.

KRYCEK
But I want my job back.

BRAD
Forget it.

KRYCEK
Come on.

Brad glares at him. Of all days, why did Alex Krycek have to choose today to come in...

BRAD
Krycek there is no way you will
ever get your job back here. Not
even Hell freezing over will change that.

KRYCEK
(begging)
Please. I really need a job-

BRAD
-Canít you see how busy
I am right now?!

Brad gives him a pissed off glare.

KRYCEK
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 the building.

BRAD
Your escort is here.

Krycek stands up.

KRYCEK
(mad)
Fine!

He walks away from Brad and the security guard grabs him by the arm.

SECURITY GUARD
Come on.

KRYCEK
(mad)
Hey! Watch the suit, buster!

BRAD
(to security)
Thank you.

SECURITY GUARD
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 swamped.

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 hadnít.

He lets out a sigh and continues to read through the report.

CUT TO:

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 victim.

DR. GALBRECHT
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.

DR. GALBRECHT
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.

DR. GALBRECHT
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.

DR. GALBRECHT
(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.

DR. GALBRECHT
(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...

CUT TO:

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.

MULDER
And blood just poured out?

DR. GALBRECHT
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-

MONICA
-Cult activity. (beat) Have you
determined what couldíve caused this?

DR. GALBRECHT
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 rather mysterious.

DR. GALBRECHT
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.

MULDER
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.

DR. GALBRECHT
Itís all in there, including photos
of the external examination.

MONICA
Thank you very much.

DR. GALBRECHT
No, thank you. I donít know
what Iíd be doing about this
without you two.

Monica smiles.

MULDER
Weíll keep you informed about
anything we find.

DR. GALBRECHT
All right.

Mulder and Monica leave the morgue.

INT. HALLWAY Ė CONíT

MULDER
Guess you were right. This is an x-file.

Monica smiles.

MULDER
What do you think happened?

MONICA
They were killed in their dreams.

Mulder gives her a look. She sounds so confident about that.

MULDER
Like Freddy?

MONICA
Who?

MULDER
You know, Freddy Krueger.
ďNightmare on Elm StreetĒ.

MONICA
Never saw it.

Mulder gives her a look. He thought for sure she wouldíve seen a movie about killer dreams.

MULDER
How have you never seen it?

MONICA
Is it in the horror section?

MULDER
Yeah.

MONICA
Then Iíve never seen it.

She looks at Mulder and smiles.

MONICA
Too scared to see any horror movies.

MULDER
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.

MONICA
I didnít say they were killed in
their sleep. I said they were killed
in their dreams.

She smiles at Mulder.

MONICA (CONíT)
I donít know really... just a feeling.

They exit the morgue. Mulder holds the door open for her.

EXT. BUILDING Ė CONíT

MONICA
Havenít you ever shared a dream with someone?

MULDER
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.

Monica listens.

MULDER (CONíT)
He was trying to convince me,
I guess, that he took Samantha.

MONICA
Thatís rather frightening, isnít it?

MULDER
What?

MONICA
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?

MULDER
Guess thatís the price we pay for justice.

They reach their Bucar and Mulder unlocks the doors.

MONICA
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.

MULDER
Like telepathic assassins?

MONICA
Not assassins, murderers. (beat)
Itíd be the perfect crime. No
evidence would be left behind.

MULDER
But heíd have to choose his victims,
have motive... which is where we
come into play.

Mulder smiles and gets in the Bucar, as does Monica.

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.

SCULLY
Brad?

Brad stops walking and slowly turns to face her.

Behind them, Robert Comer leaves Bradís office unnoticed.

BRAD
(tired)
Yeah?

SCULLY
You should go home.

BRAD
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.

SCULLY
(the worried doctor)
Brad, as a medical doctor
Iím ordering you to go home.

BRAD
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.

BRAD
What are you doing?

SCULLY
Keep it under your tongue, and
donít talk. So that means you
have to keep your mouth shut.

BRAD
I canít breath.

SCULLY
Sh.

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.

SCULLY
(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.

SCULLY
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.

SCULLY
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.

SCULLY
(serious)
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.

BRAD
What?

SCULLY
(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.

BRAD
All right. Iíll go home.

SCULLY
Thank you.

Brad stands up from his desk.

SCULLY
Do you need a ride home? You look tired.

BRAD
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.

SCULLY
Are you all right?

BRAD
Iím sick.

SCULLY
Besides that.

BRAD
What do you mean?

SCULLY
One moment you donít want to
leave, and now youíre in a
hurry to get out of here.

BRAD
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.

SCULLY
(after a beat)
All right...

CUT TO:

INT. BRAD & MONICAíS APARTMENT Ė 4:10 P.M.

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.

CUT TO:

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 a microscope.

BRAD
Agent Pendrell?

PENDRELL
(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.

PENDRELL
The party never stops in the
lab. (beat) What can I do for you?

BRAD
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.

PENDRELL
Can I ask what youíre
hoping to find, sir?

BRAD
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.

PENDRELL
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.

BRAD
That would be helpful.

PENDRELL
Can I ask, sir, what this is all about?

BRAD
Itís an OPR investigation. I canít
discuss it. (beat) Iíd also appreciate
it if you didnít talk to anyone about this.

PENDRELL
No problem. (beat) I can swab
the envelopes for DNA and get
back to you.

BRAD
Thank you.

Brad pulls out one of his cards and gives it to Pendrell.

BRAD
Youíll want to call my cell,
Iím out of my office the rest
of the day.

PENDRELL
All right.

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 into Monica.

BRAD
(not expecting to see her)
Oh hey.

MONICA
Hey.

Monica smiles at him.

MONICA
What are you doing here?

Brad looks away from her, trying to think of a reason he could be down at the FBI lab.

BRAD
I was... um...

MONICA
(worried)
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.

BRAD
(quiet)
I found-

He stops himself.

Should she know this? Or should more answers be found first?

MONICA
(concerned)
What is it?

Brad looks into her eyes.

BRAD
(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?

MONICA
(worried)
Is this about...

He looks at her.

MONICA
(hesitant)
About me lying to you?

Brad looks at her and takes a step closer to her. He looks up and down the hallway.

BRAD
(soft)
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.

BRAD
(soft)
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.

MONICA
(quietly upset)
Iím sorry, I-

Brad gently touches the side of her face, and wipes the fallen tear away.

BRAD
(soft)
Itís ok.

Monica takes a deep breath to compose herself again and then nods her head.

MONICA
Then what is it? What did
you find? (beat) Are you all right?

BRAD
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?

MONICA
All right.

BRAD
So um... howís the case coming?
I hear it was an x-file after all.

MONICA
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.

BRAD
I thought you told me last night
that they hadnít been stabbed.

Monica smiles.

MONICA
Thatís where the x-file lies.

Brad nods his head.

BRAD
I see.

MONICA
I have a theory that they were
killed in their dreams, and I believe
that Melanie somehow witnessed it.

BRAD
And thatís how she got
the blood on her hands?

MONICA
Maybe.

BRAD
Sounds like a mystery.

Monica smiles.

MONICA
I just hope we can find this guy.

BRAD
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 forehead.

BRAD
I know. Iím burning up.

MONICA
(worried)
You are. Iím guessing somewhere
in the hundreds.

She looks at him with caring eyes.

MONICA
Sweetheart... you should go home.

BRAD
I know. Iím going to. Dana
followed me into my office
earlier and stuck a thermometer
in my mouth. (beat) I have
doctorís orders.

Brad smiles at her.

MONICA
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 to her.

BRAD
(soft in her ear)
Te amo.

Monica smiles.

MONICA
Te amo, Bradly.

She pulls away from him after a beat. He smiles at her.

MONICA
Weíll talk when I get home, ok?

Brad nods his head.

MONICA
Now go get some rest.

BRAD
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 the lab.

CUT TO:

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 line.

JOSEPH
Mommy, I want a Kit-Kat.

MOTHER
(scolding)
No, Joseph, and I donít want
to have to tell you again.

JOSEPH
Please, mom.

MOTHER
(growing irritated)
My answer is no.

Joseph pouts, trying to get his way.

MOTHER
Donít give me that look,
it wonít change a thing.

JOSEPH
Please! I want it.

MOTHER
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.

MANAGER
Eugene.

The red-haired man looks over at the manager.

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 MORNING

AUGUST 13, 2005
SATURDAY

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.

BRAD
(voice muffled)
Monica?

Suddenly, Monica is snapped out of her vision, and Bradís hand is on her shoulder.

BRAD
(concerned)
Monica?

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.

MONICA
Yeah?

BRAD
Are you all right?

MONICA
Yeah, why?

BRAD
I heard you scream.

MONICA
(confused)
I what?

BRAD
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 at him.

MONICA
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.

BRAD
Itís all right.

Monica looks him over. He still looks awful.

MONICA
Did you want me to make you
breakfast or something? (beat)
What time did you fall asleep
yesterday?

BRAD
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.

MONICA
I didnít want to wake you
since you needed your rest.

BRAD
Itís all right. It turns out
everyone was right and I needed
to go home and rest.

MONICA
Do you feel any better?

BRAD
Slightly. But maybe thatís because
itís a Saturday and I actually slept.

Monica smiles at him.

MONICA (O.S.)
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.

BRAD
In the mood for some music?

MONICA (O.S.)
Sure.

BRAD
Anything in particular?

MONICA (O.S.)
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.

BRAD
(worried)
Monica?

MONICA
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 her.

MONICA
This song means something.

BRAD
(confused)
It does?

MONICA
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.

BRAD
A sign?

MONICA
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.

BRAD
Monica... This is Filter, not The Carpenters.

Monica looks at him.

MONICA
(confused)
Iím sorry, what?

BRAD
This is Filter.

MONICA
No. This is The Carpenters.
(beat) Listen.

Monica goes over to the stereo and turns up Filter.

MONICA
This doesnít sound like Filter to me.

She gives Brad a strange look.

MONICA
(singing softly)
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.

MONICA
(somewhat scared)
But Iím hearing it right now.

Brad bends down and unplugs the stereo.

MONICA
I still hear it.

She looks at him with scared eyes. What the hell does this mean?

MONICA
(scared; quiet)
What does this mean?

She is close to coming to tears, not understanding what is going on. Has she lost her mind?

BRAD
I... I donít know...

The phone rings and Brad slowly goes over and picks it up.

BRAD
Hello?

He watches Monica carefully as he listens to the person on the other end.

BRAD
Yes, sheís here.

He holds the phone out to her and she takes it.

MONICA
Yes?

She listens for a beat.

MONICA
Yes, sir. Iíll be right there.

Monica hangs up the phone and looks at Brad.

MONICA
Thereís been another killing.

Off her look...

CUT TO:

EXT. HOUSE Ė DAY

The scene is similar to the first crime scene. Neighbors surround the house, that has a couple police cars in front.

Mulder stands outside the house talking to one of the officers as Monica approaches them.

MONICA
Is it the same?

Mulder and the officer look at her.

MULDER
Almost exact. (beat) Only problem
is the victimology doesnít add up.
(beat) Catherine Witt is a single
mother with a son.

MONICA
Whereís the boy?

MULDER
He called the cops when he
found her this morning.

MONICA
Did the boy see anything?

MULDER
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.

MONICA
What do we know of the victim?

MULDER
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.

MONICA
(after a beat)
Do you notice something?

MULDER
What?

MONICA
Weíre in the same neighborhood
as the Delmonts.

She looks at Mulder.

MULDER
The killer is familiar with the area.

MONICA
A comfort zone maybe?

MULDER
Maybe. (beat) Still doesnít
explain the manner in which
the victims were killed.

MONICA
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.

MULDER
But does he actually need the address
if he is killing them without actually
being here?

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.

MONICA
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.

CUT TO:

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.

LISA REYNOLDS
Youíre partner isnít going to
get much from her.

MULDER
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.

LISA REYNOLDS
I told you that she wouldnít give you much.

MONICA
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.

MULDER
Well?

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.

MULDER
Wait, what do you mean you saw him?

MONICA
Through Melanie. She let me.

MULDER
Are you saying that sheís psychic?

MONICA
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?

MULDER
The only problem is that we donít
have any physical evidence that
this man youíve seen in your visions
has killed anyone.

MONICA
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.

MULDER
All right. Weíll go talk to him.

CUT TO:

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.

MULDER
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.

MONICA
Thatís him. Over there.

She points at Eugene, who is bagging groceries. Mulder and the Manager follow to who she is indicating.

MANAGER
Eugene? He wouldnít hurt a fly.

MONICA
We need to speak with him.

MANAGER
Iím afraid you wonít get much
out of him. (beat) Heís autistic.

MULDER
And he works here?

MANAGER
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.

CUT TO:

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 them.

MONICA
Eugene?

He doesnít acknowledge her at all.

MONICA
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.

MONICA
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 at her.

MONICA
Why were you there, Eugene?
Can you tell me that?

Eugene ignores her and looks up at the ceiling.

Mulder steps forward and whispers in Monicaís ear.

MULDER
(whisper)
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 away.

Monica walks away with an uneasy feeling...

FADE OUT:

FADE IN:

INT. BRAD & MONICAíS APARTMENT Ė BEDROOM Ė NIGHT

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.

MONICA
Brad?

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.

INT. KITCHEN

Monica enters the kitchen and it is empty.

MONICA
Brad?

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.

MONICA
BRAD!

EUGENE
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.

MONICA
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 his autism.

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 a scream.

Brad is hovering over her with a concerned look on his face.

BRAD
Monica?

Monica looks around the room and realizes that she is awake. She looks up into Bradís eyes. She sits up and hugs him.

BRAD
Darling, whatís wrong?

MONICA
He was going to kill me.

BRAD
Who?

MONICA
That man who killed the others.
(beat) He came for me and tried
to kill me.

BRAD
It was just a bad dream, Monica.

Monica pulls away from him and looks at him. She shakes her head ďnoĒ.

MONICA
No. I feel it. Right here.

She holds her stomach to where Eugene almost stabbed her like he did the others.

MONICA
Itís sore. But I stopped him.
I snapped his neck and he disappeared.

Brad looks into her eyes. She is truly terrified.

BRAD
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 her.

BRAD
Are you ok?

MONICA
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 Ė MORNING

AUGUST 15, 2005
MONDAY

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.

MULDER
Morning.

MONICA
Good morning, sir.

MULDER
I thought Iíd come tell
you that yesterday, police
found Eugene Klein dead
in his apartment.

Monica looks at him with a blank expression.

MONICA
How did he die? Do you know?

MULDER
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 she loves?

MULDER
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.

MULDER
I expect the case report later today.

MONICA
Yes, sir.

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 her.

KIM COOK
Agent Reyes, what can I do for you?

MONICA
Is he in?

KIM COOK
Heís pretty busy, but Iím sure
he could use a break from reading
all of those reports. (beat) Go on it.

MONICA
Thank you.

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.

MONICA
Brad?

Brad quickly looks up, startled since he didnít hear her come in.

BRAD
Hey. I didnít hear you come in.

Monica forces a smile.

BRAD
What is it?

He can sense that something is wrong.

MONICA
I need to talk with you off the record.

BRAD
All right.

He sets down the report and takes off his glasses.

BRAD
What is it?

MONICA
I...

Monica looks down and takes a deep breath.

MONICA
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.

MONICA
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.

BRAD
What are you saying?

MONICA
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.

BRAD
(soft)
Hey... Itís all right...

MONICA
Iím a failure, Brad.

She looks up at him.

MONICA
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.

BRAD
If you want that, then do it.
Do what makes you happy, Monica.

He kisses her on the top of her head.

MONICA
(muffled)
Also...

She pulls away from him and he looks at her.

MONICA
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.

MONICA
Help me stop.

She looks at him with desperate eyes. He shakes his head.

BRAD
Ok. Iíll help you.

Monica takes a deep breath to calm herself.

MONICA
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.

MONICA
Iím so sorry. Iíve just been awful to you.

She looks away from him, and down at her hands.

BRAD
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.

BRAD
Weíre going to be ok, ok?

He looks at her reassuringly. Monica looks into his eyes and nods her head.

MONICA
But I need to resign.

BRAD
Then do that. Resign because
that is what is best for you.

MONICA
Iím a fa-

BRAD
-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.

MONICA
(quiet)
Iím afraid, Brad...

BRAD
Of what?

MONICA
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.

BRAD
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...

FADE OUT:

THE END.

 


 

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