THE X-FILES: "Stepping Out" 

a teleplay by Abbie Anderson 
amanders@att.net
http://home.att.net/~amanders
originally completed mid-December, 1994; 
last major revision 4/21/96

Rating: PG  Category: XR
Spoilers: One Breath
Keywords: Mulder/Scully Romance

Summary: An old friend of Scully's dropped
out of the FBI Academy to sign up for
top-secret military medical research. Now his
mysterious supervisor doesn't care how many
volunteers have to die in the process, and
Scully's old friend is willing to perform one
final assignment in order to get out, just as
our heroes tentatively embark on a first date
(sorry 'bout dat).

Disclaimer: The universe of The X-Files and
the characters therein are the intellectual
property of Chris Carter, Fox Television, and
Ten-Thirteen Productions, and have been used
without permission. No copyright infringement
is intended; I'm just having a good time. If
you like what I've done, feel free to share
it, but of course do give me credit for it
and provide the share-ees with my e-mail
address. If it provokes a reaction, positive
or negative, please let me know. Constructive
criticism especially welcome. 

Formatting reduced for posting to Internet.
E-mail author to request hard copy in
teleplay format. 

Notes re: conventions of teleplay format:
"INT"="interior" (i.e., a scene set indoors) 
"EXT"="exterior" 
"V.O."="voice-over" (i.e., the line is not
spoken by a character in the scene, but is
heard superimposed on the action--as in a
narrator's voice, a voice on the telephone,
or when we "eavesdrop" on a character's
thoughts)

I have not fully conformed with teleplay
format standards (for instance, character's
names in "stage directions" are not in
all-caps; sound effects and special effects
are not marked, for the most part), nor am I
good with camera angles or other technical
aspects that ought to be in a serious
teleplay. I'm definitely an amateur, here,
and it shows. 

*******



TEASER

FADE IN:
1. INT: HOSPITAL/LABORATORY
A row of numbered trays sits on a counter,
each containing two syringes filled with
varying levels of blue and clear liquid,
respectively; a few swabs; and two fresh sets
of surgical gloves. A blank one-way mirror
stretches behind the counter. The first
several trays are disarrayed, the syringes
empty, the gloves discarded. A male doctor
stands next to the back of a bank of
monitors, his bare hands clenched at his
sides. We will be learning in the next scene
that his name is Burstyn. He looks as if he's
hiding from something. A cardiac
resuscitation unit stands to one side. A male
nurse comes around from the other side of the
monitors, goes to the trays and picks up the
next one in line, glancing sidelong at the
doctor.

NURSE 
The subject is prepared, doctor. Are you
ready to continue?

The doctor's voice is tight as he swings
around, picking up the fresh gloves from the
tray and putting them on. The nurse is
already gloved.

DOCTOR (BURSTYN)
All right. Let's get on with it.

The doctor and the nurse move around the
monitors to face the "subject", a young
Latino man lying uncovered on a gurney. His
head and chest sprout several electrodes
connected to the monitors. He is wearing
hospital fatigues stamped "U.S. ARMY".

KID 
Fire away, Doc: shoot me to the moon! It's
time for steppin' out.

The doctor doesn't answer, but checks the
monitor outputs, taking a little more time
than he has to. He brings out an examination
flashlight and flashes it in the kid's eyes,
roughly pulling up the eyelids to check
response. He speaks to the nurse.

BURSTYN 
How was the blood test?

NURSE 
Levels are up 14% from last exam.

KID 
Hey, I said I was ready. I'm here to be all I
can be, right?

Again, the doctor does not answer the kid,
doing his best not to make human contact. He
sighs and steps back, speaking for a
microphone in the ceiling.

BURSTYN
November 2nd, 1996: 1615 hours. Series 3D,
proceeding with test one-two-niner-zero.

The nurse swabs the kid's forearm, picks up
the syringe with blue liquid and performs the
injection, then steps to the monitors and
starts marking off points on a clipboard as
he reads off monitor outputs for heart rate,
blood pressure, EKG, EEG. The kid closes his
eyes, a relaxed smile forming on his face;
then his eyes open, bright, the smile
growing. He flexes an arm and laughs, then
starts to sit up, breathing deeply.

KID 
God, I love the Army. Boom, boom, boom! Even
better than last time, Doc. I can see every
molecule in this room!

The kid stands up off the gurney, strong and
alert, looking ready to lift off the ground.

BURSTYN
Subject is standing. Initiating tests of
refl--there goes the EEG!

The kid's eyes start to glaze over. The EEG
lines are going crazy, a burst of full-brain
activity. The kid gasps and falls sloppily
back across the gurney like a discarded
puppet. The doctor and nurse burst into a
flurry of activity, shouting terse
medicalspeak at each other as they try to
stabilize the kid with the second injection
and then CPR. The doctor becomes frenzied,
pounding the kid's chest even after
defibrillation has failed and all the lines
on the monitors are flat.

NURSE 
Doctor! We've lost him. Let it go. There's
nothing we can do.

The doctor hunches over the kid's empty body,
sobbing with his efforts and raising his
hands in despair.

BURSTYN
God in Heaven . . ..

He turns as if released from a trap,
stripping off his gloves and throwing them on
the counter.

CUT TO:
2. INT: OBSERVATION ROOM
The room is dim, and filled with smoke. The
Cigarette Smoking Man (CSM) sits at a table,
nursing a cigarette. The doctor storms in.

BURSTYN
My God, aren't you satisfied?! There is no
reason these kids have to die like this!

CSM
These men are volunteers, Doctor: military
men. They are carefully screened, and they
know the risks involved. We're giving them
the chance to be better soldiers--and to
experience the ultimate high.

BURSTYN 
Even if it kills them?!

CSM
Life is full of risks, Burstyn. It seems our
volunteers know that better than you do.

Burstyn is almost hysterical, his voice
breaking.

BURSTYN
I'm a doctor, for God's sake, I'm not
supposed to kill people!

Burstyn pounds a fist on the table and then
pulls back, sinking a hand in his hair.
Cancer Man doesn't flinch, narrowing his eyes
as he takes another drag on the cherished,
diminishing cigarette.

CSM
But think of what we're learning here, Dr.
Burstyn. Our work has progressed a great
deal.

Burstyn takes a deep breath, trying to speak
with Cancer Man's controlled softness.

BURSTYN. No. This is wrong. This is not what
I signed up for!

Cancer Man carefully stubs out his cigarette.

CSM
I'm afraid it is, actually. I was in the room
myself when you first put pen to paper. Do
you find your compensation inadequate?

Burstyn loses it again.

BURSTYN
This isn't about compensation! I'm telling
you I can't do this any more! It has to stop!

CSM
How do you propose to stop it?

Excellent point. Burstyn has no answer.

CSM
There's someone you used to know: rather
well, I understand. A very special agent in
the FBI now.

BURSTYN
Yes, you've asked me about her before. I told
you, I haven't seen her in years, I don't
know anything. What does she have to do with
this?

The CSM lights another cigarette before
speaking.

CSM
There's something I want you to do for me,
Dr. Burstyn. When that's done, perhaps we can
negotiate a release from your contract.

The CSM blows more smoke into the atmosphere,
as Burstyn stares at him in hollow-eyed
despair.

FADE OUT.



ACT ONE

FADE IN:
3. INT: SCULLY'S APARTMENT, NIGHT
Scully works at her computer. She stops,
stretches, saves what she's doing, and gets
up.

CUT TO:
4. EXT: THE STREET OUTSIDE SCULLY'S
APARTMENT, NIGHT
Mulder's car pulls up and halts, idling.

CUT TO:
5. INT: MULDER'S CAR 
Mulder is watching Scully's window. He looks
down at his watch: 8:13. With him we see
Scully's silhouette against the blinds as she
moves in her apartment. Mulder rubs at his
face, waiting a moment longer, and moves on.
Two years ago, she was still missing. Just
checking.

FADE TO:
6. INT: SCULLY'S APARTMENT, NIGHT
It's about 11:00. Scully, in pajamas, is
getting ready for bed, turning out lights and
covering a yawn with her hand. The phone
rings, and she answers it.

SCULLY
Hello?

MULDER [V.O.] 
Hey, Scully!

SCULLY
Mulder?

There is loud music in the background at
Mulder's end, and his voice is a little
slurred.

MULDER [V.O.] 
I want you bad, Scully. What say you and me
go out and see what color we can paint this
town on a Friday night?

SCULLY
Mulder, are you drunk?

CUT TO:
7. INT: MULDER'S APARTMENT
Mulder is on the couch; a few beers and a
half-empty bottle of tequila are on the
coffee table, next to a messy pile of X-rated
videos. He's trashed.

MULDER
Maybe a little.

SCULLY [V.O.]
Where are you?

MULDER
At home.

SCULLY [V.O.]
By yourself?

MULDER
Ain't nobody here but us chickens.

Pause.

SCULLY [V.O.]
Are you OK? Do you want me to come over?

Mulder grins sloppily.

MULDER
Yeaahh.

CUT TO:
8. INT: SCULLY'S APARTMENT
Scully doesn't like the leer she hears in his
voice.

SCULLY
On second thought, maybe that's not such a
great idea. Go to bed, Mulder. I'll see you
later.

She hangs up over his drunken protests.

FADE TO:
9. INT: MULDER'S APARTMENT, MID-DAY
The tequila bottle is knocked over, a little
liquor remaining inside. Mulder is still on
the sofa. He stirs and brings a hand to his
head with a muted groan, definitely
suffering. A soft knock comes at the door.

SCULLY [THROUGH THE DOOR] 
Mulder?

Mulder wishes she wouldn't pound so hard, and
groans again. Scully uses her key in the door
and comes in. He's down on the sofa; she
can't see him right away.

SCULLY
Mulder . . .?

He raises a hand, and she comes into the
living room, walking carefully around the
coffee table to sit next to him on the couch.

SCULLY
Hi.

MULDER
Hi.

SCULLY
What happened here?

MULDER
It was aliens, Scully. They came in here and
made me try to drink a whole fifth of tequila
all by myself. It was one of their crazy
experiments, testing human limits or
something. I told them they weren't going to
prove anything except how stupid I am, but
they wouldn't listen to me.

SCULLY
I can see that.

Silence falls.

MULDER
Look, this is really embarrassing. I'm glad
you came and everything, but if all you're
gonna do is sit there looking at me like
something you took out of somebody's abdomen,
I'd just as soon be left alone.

SCULLY
I think I can help you out, Mulder.

MULDER
I was hoping someone would.

SCULLY
My Dad wasn't much of a drinker, but he was a
Navy man, and every now and then he'd come
home from a night with the boys looking about
like you do now. There's a special formula
we'd fix for him, it was part of our family
ritual for his rare morning-afters. I'll go
look in your kitchen and see if I can whip up
a reasonable facsimile.

She gets up; his eyes follow her out.

FADE TO:
10. INT: MULDER'S LIVING ROOM
Scully comes back in, carrying a glass of
something thick and brownish-red. Mulder sits
up; she hands the glass to him, and he looks
at it a little doubtfully.

SCULLY
We're in luck, Mulder; I think I got pretty
close.

MULDER
What's in it?

SCULLY
If I tell you, you won't drink it. (pause)
Try to get as much down as you can. It'll
clear your head a little and settle your
stomach.

Mulder takes a tentative sip, then gulps down
most of the glass. Scully watches him, still
standing. He sits up all the way, shaking his
head and setting down the glass. His voice is
clearer now.

MULDER
Wow. I almost feel like a human being again.

SCULLY
Can you get up? The next step is a shower and
clean clothes.

She offers him an arm, and he leans on her as
he stands and then pads off unsteadily
towards the bathroom.

MULDER
Thanks.

She watches him go, speaking almost under her
breath.

SCULLY
No problem, partner.

She looks around the room, shaking her head.

CUT TO:
11. INT: MULDER'S APARTMENT
Scully has cleaned up the living room while
Mulder showered. Now they're on the couch
with coffee (mint tea would be better for
him, but he may not have any).

SCULLY
Mulder, do you remember calling me last
night?

MULDER
Vaguely.

SCULLY
You asked me out, Mulder. Did you mean it or
was that the booze talking?

MULDER
Guilty on both counts. I think I figured if I
was wasted you'd be turning me down for a
good reason.

SCULLY
What made you so sure I'd turn you down?

MULDER
Come on, Scully. We work together. It's not
generally considered a good idea. It's not
like either of us has been open to the
suggestion before, either.

SCULLY
What do you think would happen if I asked you
out?

MULDER
Drunk or sober?

SCULLY
Just like this. Right now. Mulder, do you
have any plans for this evening?

Now she's got his attention.

MULDER
I do now. What did you have in mind?

SCULLY
Oh, I don't know. There's a little Armenian
restaurant I've been wanting to try. What do
you say?

MULDER
You're serious.

SCULLY
Mm-hm.

Mulder takes this in for a second.

MULDER
If I knew tequila worked this well I would
have tried it sooner.

SCULLY
It wasn't the tequila, Mulder, it was your
way with words. "I want you bad, Scully"??

They both laugh, then get serious; Mulder
reaches a tentative hand to touch her face.
They lean towards each other for a careful
kiss, and part to look at each other again,
neither of them entirely sure about this.
Scully smiles a little, moves a hand to
Mulder's knee and pushes to her feet.

SCULLY
Think you'll be ready to pick me up at, say,
7:00?

MULDER
Sure.

Scully starts to go out.

MULDER
Scully . . .?

She turns back toward him.

MULDER
Who's paying?

She smiles, thinking a second.

SCULLY
You are: I think you owe me one. See you at
seven, partner.

She goes, leaving a bemused Mulder behind.

FADE TO:
12. INT: RESTAURANT 
It's a cozy place, intimate but not too
romantic. Mulder and Scully already have
their meals, and are laughing as they talk.
Neither of them is particularly dressed up:
they both want to keep this low-key.

SCULLY
You should have seen his face when Leslie
told him . . .!

The laughter dies down into a quiet moment of
looking at each other, which could become
awkward if somebody doesn't do something.
Mulder looks away for a distraction and
notices a guy near the entrance, looking
rather conspicuously lost: Burstyn from the
Teaser, in a suit now. Mulder gestures toward
him.

MULDER
There's a guy who looks like he's not sure
what he should do next.

Scully looks up and is astonished: she
recognizes him.

SCULLY
Oh my God, that's . . ..

MULDER
You know him?!

SCULLY
Just a second . . ..

Scully gets up and goes towards Burstyn. He
looks up and she slows; then he sees her and
his face lights up:

BURSTYN
D?!!!?

Scully lifts a brilliant smile, and runs to
him.

SCULLY
Kenny!!!

They have a big, laughing, happy hug.

BURSTYN
What are you doing here?

SCULLY
What am *I* doing here?! You're the one who
fell off the face of the earth! Whatever
happened to you? You stopped answering my
letters, and nobody knew where you were.

BURSTYN
I was kind of holed up for a while.

SCULLY
How's Jan?

Burstyn's face darkens for a moment..

BURSTYN
She left me a couple years ago. Couldn't
stand the pressure.

SCULLY
I'm sorry.

BURSTYN
That's OK, it was over a long time ago.
(pause) God, it's good to see you again, D.
The best thing I've laid eyes on in a long
time.

Mulder can't just watch this, and gets up to
join them. He doesn't like Burstyn's hungry
look as the other man takes Scully in almost
palpably with his eyes. Scully steps back and
puts a hand on Mulder's arm.

SCULLY
Mulder! This is Kenny Burstyn. We were study
buddies in Med School.

The two men shake hands.

SCULLY
We were recruited into the Academy together,
but Kenny opted out after the first year.
Kenny, this is my partner at the Bureau, Fox
Mulder.

Burstyn does a double take.

BURSTYN
The Fox Mulder?

MULDER (drily) 
In the flesh.

BURSTYN
You were like a mythical figure to us in the
Academy; it's wild to meet you like this.

MULDER
Kind of spooky, isn't it?

Awkward silence for a brief moment, 'til
Burstyn shrugs it off with a laugh and turns
back to Scully.

BURSTYN
So you've got your career with the FBI. Are
things good, D?

Scully looks at Mulder and moves as if she's
going to put her arm through his, but clasps
her hands in front of her instead. This is
still clandestine.

SCULLY
Yeah, things are good, Ken. What about you?
Are you living in Washington now?

BURSTYN
No, I'm here on business. I work for a
pharmaceuticals company. Actually, I'm
supposed to be meeting somebody. It's a
little embarrassing, I think I'm in the wrong
place. I'd better be going. I'm late already,
and I'm keeping you two from your dinner.

He moves to go.

SCULLY
Wait, Ken, don't just walk out on me. At
least give me your address or something.

Burstyn looks at Mulder and then back at
Scully with a strangely tense smile, almost
challenging.

BURSTYN
Hey, you're FBI, you can look me up, right?

SCULLY
It doesn't work like that, Ken. I've got pen
and paper in my purse, I'll be right back.

She touches Mulder's arm again as she goes
back to their table. Burstyn's eyes follow
her like a lifeline.

MULDER
So you guys were pretty close.

BURSTYN
As close as anyone ever got to Dana Scully.
She was so determined . . .. I guess we all
were. (pause) Does she still tell the worst
dirty jokes known to mankind?

Reaction: What?!

MULDER
Not to me.

Burstyn isn't really paying attention, his
eyes haven't left Scully. Mulder's gaze
follows Burstyn's.

BURSTYN
God, she looks terrific.

Scully comes back up.

SCULLY
How long will you be in town, Ken?

BURSTYN
A few days, maybe longer. It depends on how
things go.

She hands him a card.

SCULLY
This is a number where you can reach me.
Where are you staying?

Burstyn hesitates a second.

BURSTYN
The Sheraton. I never know where I am when I
travel.

SCULLY
Promise me you'll call. Maybe we can get
together over coffee or something and catch
up. I want to find out what you've been up
to.

BURSTYN
Look, I'd really better get to where I'm
supposed to be. It's great to see you again,
D.

He gives her another hug. Scully pulls back
first.

SCULLY
Call me.

He's a little choked up.

BURSTYN
All right, all right.

He shakes Mulder's hand again.

BURSTYN
Good to meet you, Mulder. Sorry to break up
your dinner.

MULDER
That's OK. It was educational.

Burstyn leaves; Scully watches him a moment
before turning to go back to their table,
Mulder following.

MULDER
So what's this I hear about you and dirty
jokes?

SCULLY
What do you mean?

MULDER
Kenny tells me you're an old hand with
off-color humor.

Scully has to think a moment to figure this
one out.

SCULLY
Oh, that.

They have reached the table, and sit down.

SCULLY
You've been misled, Mulder. We used to make
up limericks to help us study: "There once
was an enzyme from the pancreas . . .."
(grin) Maybe I did get carried away
sometimes. God, Kenny Burstyn. I thought I'd
never see him again. He was a special friend.

MULDER
How special?

She looks at him.

SCULLY
Med School was an intense time. Recruitment
to the Bureau was a big decision for me,
especially after I told my parents I was
considering it. Kenny lent me his shoulder to
cry on a few times, that's all. He was seeing
someone else; they got married right before
we started at the Academy. (pause) This is
sweet, Mulder: it's our first date and you're
jealous already.

MULDER
I'm not jealous--just wondering what I'm
doing here. I've never seen you like that
before.

SCULLY
Like what?

MULDER
I don't know: excited. Happy.

SCULLY
Come on, Mulder, he's an old friend. If I
hadn't seen you in four or five years I'd
react the same way.

He doesn't reply.

SCULLY
Listen, I want to be here with you. I asked
you out, remember?

MULDER
That was just charity, because I made a fool
of myself and you didn't want me to feel bad.

SCULLY
Don't sell yourself short, Mulder. You know
better than anybody what I've been through in
the past few years. Working with you has
changed a lot of things for me.

Mulder changes the subject before this can
get mushy.

MULDER
I didn't like the way your "old friend" was
looking at you.

SCULLY
Mulder . . ..

MULDER
No, this isn't a testosterone thing. You've
trusted my instincts before: they're
screaming about good ol' Kenny. He looked
desperate, hungry. That guy's got something
riding him, Scully, and he thinks you can get
him out from under it.

Scully makes an effort to swallow her
irritation.

SCULLY
OK. What do you think he's up to?

MULDER
I don't know yet. But the man lit up when he
saw you like he'd just found his angel of
mercy--or his sacrificial lamb.

Scully eyes him with mixed feelings.

SCULLY
Mulder, you've got that look.

MULDER
What look?

SCULLY
Going on a lion hunt. (pause) Please, don't
turn Kenny into an X-File just yet. I must
not trust him either; all I gave him was my
cellular number. Is there any hope left for
us having a good time tonight?

Reaction.

CUT TO:
13. EXT: STREET OUTSIDE SCULLY'S APARTMENT,
NIGHT
Mulder's car pulls up.

CUT TO:
14. INT: MULDER'S CAR 
Scully undoes her seatbelt.

SCULLY
Do you want to come in for some wine or
something?

MULDER
I'd better take a rain-check. There's some
work I want to do.

SCULLY
Like digging up Kenny's dirt.

Silence.

SCULLY
Is there anything I can do to stop you?

No answer to this mostly rhetorical question.

SCULLY
I suppose I could try seducing you, but I
don't think I'm ready for that yet.

This gets an astonished smile from Mulder.

SCULLY
My credentials probably don't qualify me for
the assignment, anyway: I'm not exactly one
of your bikini babes.

He puts a hand to her face.

MULDER
You don't have to be.

He leans over and they have a slow kiss.

MULDER
I'd like you to try some time.

SCULLY
I'll see what I can come up with.

She takes another kiss, her hands on him;
then she pulls back with a sigh.

SCULLY
Good night, Mulder.

She opens the door and gets out, then leans
back down.

SCULLY
It's Burstyn with a "y". Let me know what you
find out about my old friend.

She shuts the door and goes in to her
apartment.

FADE OUT.



ACT TWO

FADE IN:
15. INT: SCULLY'S APARTMENT, NIGHT
Scully has changed into slacks and a big
shirt and is curled up on her sofa with a
magazine, a glass of wine on the coffee table
in front of her. Her gun in its holster rests
next to the glass. A knock comes at the door.
She picks up her gun and goes to see who it
is. She looks through the peephole: Burstyn,
carrying a cheap bouquet and looking nervous.
She slides the gun into the back of her
pants, unlocks the door and opens it, but
doesn't let Burstyn in yet.

BURSTYN
D, thank God you're home! I have to talk to
you.

SCULLY
Kenny, how did you find me? I didn't give you
my address.

Burstyn looks around anxiously.

BURSTYN
None of that matters. Please, let me in!

Scully hesitates and then moves out of the
way, putting a hand to her gun as Burstyn
pushes past her. She locks the door behind
him. He extends the flowers.

BURSTYN
Here, these are for you. I wanted something
special, but this is the best I could do at
this hour.

SCULLY
Thanks.

She takes the flowers and goes with them into
the kitchen. Burstyn sees the gun in the
small of her back. Somewhat mechanically she
gets out a vase and puts the flowers in
water, while Burstyn gets more uncomfortable.
Scully leaves the flowers in the kitchen, not
giving them sanction by bringing them out to
the dining table. She does not offer Burstyn
a seat.

SCULLY
What are you doing here, Ken?

BURSTYN
Do you always wear a gun around the house?

Scully waits for an answer to her question.

BURSTYN
Could--could we sit down, please?

Scully pulls out a chair for Burstyn at the
dining table, then goes to sit across from
him. He takes off his coat, drapes it over a
chair and sits down.

BURSTYN
Dana, I'm in trouble. I've gotten involved in
something that really scares me. The company
I work for . . . they've been doing
experiments with a new drug: unethical
experiments, unregulated tests. People are
getting hurt.

SCULLY
What kind of a drug, Ken?

He fishes in his jacket pocket and carefully
brings out a vial in a plastic bag, holding
some of the blue liquid injected into the
unfortunate subject in the Teaser, and hands
it to her.

SCULLY
What is it?

BURSTYN
That's what I'm hoping you can tell me. I'm
not privy to the recipe.

SCULLY
I can ask for an analysis . . ..

Burstyn stands abruptly, agitated.

BURSTYN
No! No one else can see it. It's too
dangerous.

Scully eyes him, still seated.

SCULLY
How deep into this are you, Ken?

Burstyn paces into the living room, away from
Scully's carefully established neutral
territory at the table.

BURSTYN
It's a classified project, camouflaged from
regular oversight.

Scully reluctantly gets up and follows him.

SCULLY
Is it a project you are personally involved
with?

Burstyn's back is to her as he answers.

BURSTYN
I just saw what happened to some of the test
subjects.

He shudders, and turns around.

BURSTYN
I'm working now to get away from all of it.
That's what counts. Dana, will you do this
for me?

SCULLY
Do what, Ken? I don't understand what you
want to accomplish here. If you're trying to
expose illegal practices at your company,
doesn't that job belong to the FDA? Why bring
this to me?

BURSTYN
Because I'm scared, D. The FDA means nothing
to these people. The government doesn't exist
for them. You don't know what they can do.

Oh, yes, she does.

SCULLY
I may have an idea.

BURSTYN
I just don't know where else to turn. Dana,
you're the truest person I've ever known. All
I want is a chance to start over!

He stretches out his arms, starting to break
down.

BURSTYN
I've made so many wrong turns I don't know
where I am any more. We used to know, D, we
used to know what we were about! We were
going to be doctors, we were going to heal
people. And then we were going to help the
government stop evildoers, save the world or
something, I don't know what we thought the
FBI was supposed to be.

His pain and despair are getting to her.

SCULLY
I do know, Ken. I'm living that.

Burstyn begins to sob, falling into a chair,
his head in his hands; Scully goes to comfort
him, bending her head toward his as he buries
his face in her shirt.

CUT TO:
16. EXT: STREET OUTSIDE SCULLY'S APARTMENT,
NIGHT
Mulder pulls up and parks, gets out of the
car--and sees a second person inside Scully's
apartment (we're backtracking in time a
little). Scully's drapes are pulled back and
the blinds open, but their edges obscure the
view from outside. Mulder warily goes up to
the window and looks in, just in time to see
what looks like Burstyn's mouth at Scully's
breast, her arms around him. He stands
transfixed a moment, then unthinkingly places
a hand on the window and balls it into a
fist. The motion catches Scully's eye, and
she looks up; their eyes meet, and he snaps
away in anger.

CUT TO:
17. EXT: OUTSIDE SCULLY'S APARTMENT, NIGHT
Scully flings open her front door and runs
out into the street as Mulder is getting into
his car.

SCULLY
Mulder!

He starts the engine, not looking at her.

SCULLY
Dammit, Mulder, listen to me!

She bangs her fist on the top of the car as
he peels out; he stops at the corner and
comes back. Scully's in his face before he's
completely out of the car; she jabs an arm
back towards her apartment.

SCULLY
What do you think you saw back there?!?

He slams the car door shut.

MULDER
I don't know! You tell me!

SCULLY
The man is having a breakdown in front of me,
and you want me to stand across the room
offering disinterested advice?!

Mulder knows he's being irrational, but the
buttons have been pushed and for the moment
he can't stop it. In the background, Burstyn
appears in the open doorway.

MULDER
You've never done anything like that for me.

SCULLY
You've never given me reason! The only time
you ever reached out to me for something was
when I was in a coma, for God's sake!

A moment's silence as they both calm down.

SCULLY
All right. What did you come here to tell me?
It must be bad if you think the phone isn't
safe.

She hugs herself and looks back to see Kenny
still standing in the door, watching them.
Mulder follows her gaze, and his face
hardens.

MULDER
That old friend of yours. He didn't drop out
of the Academy: he got recruited. He doesn't
work for any pharmaceuticals company, he
works for the people who put you in that
coma!

Scully absorbs this for a moment.

SCULLY
He's definitely running from something: he's
scared to death.

She glances back at Burstyn in the doorway.

SCULLY
He brought me a sample of some drug he says
they're doing illegal tests with. He wants me
to analyze it, but he doesn't want anybody
else to know about it. Reading between the
lines, I'd say it's killing people and he
can't stand it any more.

MULDER
Don't trust him, Scully.

SCULLY
I don't. I didn't give him my address, he
just showed up.

MULDER
He's not here on his own.

SCULLY
I know. There's too much he's not telling,
and he's not a very good liar. (pause) What
should we do?

Mulder speaks deliberately, through clenched
teeth.

MULDER
What I want is to engage him with terminal
intensity. I've seen it done.

SCULLY
No, Mulder, that's not the way. Do we risk
sending him away to report back to his
employers, or do we keep him here? Do I
pretend everything's OK and let him sleep on
my couch, or do we tie him up and stick him
in a closet?

MULDER
If he stays, so do I. I'm not leaving you
alone with him.

SCULLY
At least he's still waiting at the door, not
wandering around in my apartment or accessing
my computer. He can't be much of a
professional.

They both look up at Burstyn, and then at
each other.

SCULLY
This is not how I wanted this evening to go,
Mulder.

They turn and start to go in.

CUT TO:
18. INT: SCULLY'S APARTMENT
Burstyn faces Scully across her dining table,
Mulder standing behind him.

SCULLY
All right, Kenny. You say you're in trouble
and you need my help. But you're not telling
me the truth, and I can't trust you. I'm
going to pull my gun on you now. Do me a
favor and don't make any sudden movements.

She reaches behind her for the gun and aims
it at Burstyn's right shoulder. Mulder moves
further out of the line of fire, but still
behind Burstyn.

SCULLY
Empty your pockets on the table, please, Ken.

He mutely starts to do so, hands shaking a
little.

SCULLY
Mulder, would you go through his coat? It's
there on the chair.

Mulder complies as Scully speaks her next
lines. Without any prompting he then examines
the items on the table: rental car key ring,
hotel key; wallet holding credit cards, i.d.
and some cash; gum, comb, a couple pens
(which Mulder opens up, looking for bugs),
pager, cell phone.

SCULLY
Ken, you haven't told me enough about why
you're here. And you lied to me about your
job. I have reason to believe that the people
you work for are the same people who nearly
terminated me in another one of their
"unregulated experiments" last year. I think
you'll understand if I have some hard
feelings about that. Mulder wasn't too
thrilled about it, either. That's why I'm the
one holding the gun. He wanted to blow your
head off; I just want to talk to you.

Mulder looks up at her, and she gives him a
grimly teasing smile. It has the desired
effect: he relaxes somewhat. He searches
Burstyn and finds a small case in his inside
jacket pocket, holding two hypodermic needles
and some of the clear liquid from the Teaser.

MULDER
What is this?

Burstyn looks at Scully as he answers.

BURSTYN
It's the counter-agent.

MULDER
Why do you have it?

BURSTYN
Dana, I told you, it's dangerous!

SCULLY
Then why didn't you give me this when you
gave me the other? Why two needles, Ken?

Burstyn hangs his head.

BURSTYN
I was just trying to be careful. So much has
gone wrong.

Scully gives him a moment, but he doesn't
volunteer any more information.

SCULLY
Are those car keys for real?

BURSTYN
Yes.

SCULLY
Is the car outside?

He nods.

SCULLY
OK. Let's wrap all this stuff up in the coat
and lock it in the car for safekeeping, along
with the keys.

Mulder starts to gather everything into the
coat.

BURSTYN
Dana . . ..

SCULLY
Are you wired, Ken? Something we wouldn't
have found?

He chokes.

BURSTYN
No . . . I don't know.

SCULLY
What do you think, Mulder, do we need to get
rid of his clothes to be sure? Then we'd be
down to some kind of implant. I really wish
these people had better things to worry
about.

MULDER
If they're listening they've heard enough
already to know what's going on. I'd vote
against making Kenny strip if it's all the
same to you.

SCULLY
All right, Ken. Take off your jacket and give
it to Mulder with your shoes, your belt and
your tie, and we'll leave it at that.

Burstyn, nearly in tears, starts to remove
his jacket.

CUT TO:
19. INT: SCULLY'S LIVING ROOM
Burstyn is sitting in one of the chairs,
tieless and in stocking feet, Mulder opposite
him on the couch. Scully comes in with a
glass of orange juice in one hand and her gun
in the other, hands the juice to Burstyn and
sits down next to Mulder. Burstyn takes a
grateful sip of juice, relaxing in a numb
kind of way.

BURSTYN
I didn't know what I was getting into when I
started. It sounded like a chance to do real
medical research, no worries about funding,
cutting-edge projects.

SCULLY
What kind of a drug is it, Ken?

BURSTYN
They want a better soldier: one who doesn't
get tired, who has no fear, with unfailing
reflexes and sound judgment, always in
control. So we were working on blood
chemistry and brain function. Our initial
results were pretty encouraging: heightened
sensory acuity, extended endurance, enhanced
observational and analytical abilities. The
volunteers think they're getting the trip of
a lifetime.

MULDER
What went wrong?

Burstyn withdraws again, plunging a hand in
his hair.

BURSTYN
The effects didn't last long enough. It's not
practical to have to keep injecting your
soldiers, especially when they're out in the
field. Ideally you'd want some kind of
internally regulated production system, like
an organ secreting a hormone, but you can't
just tell the body to make a new organ for
you. (pause) They took the research away from
us for a hiatus, and when they gave it back
they wouldn't let me analyze it. At low doses
the results were only slightly up from
before, but over time the injections started
acting like a trigger for something more
massive. Then they increased the dosage, and
we started losing subjects. The physical
stresses are too much: the brain overloads
with electrical activity, and the heart just
gives out. (pause) It's horrible.

SCULLY
What do you find in the post-mortems?

Burstyn shakes his head.

BURSTYN
I don't do that part. They don't show me the
reports.

Pause as Scully and Mulder take this in:
Burstyn has been performing "research" he now
knows nothing about. What kind of a pawn is
he, and how desperate is he?

SCULLY
Why did they send you to me, Ken? What do
they want?

BURSTYN
They want you to analyze it, like I said. And
they want a blood sample from you. I don't
know why.

Scully waits again, giving him a chance to
tell her the rest. He does not oblige.

SCULLY
What are you supposed to do if I refuse?

Burstyn just opens his mouth and shuts it
again. Mulder gets up and takes a step toward
him.

SCULLY
Ken . . ..

BURSTYN
I'm supposed to tell him.

MULDER
Tell who?

Burstyn is miserable and a little defensive.

BURSTYN
My supervisor. I don't know his name. He just
sits in there with his damn cigarettes,
observing.

Mulder swings around and collars Burstyn in
anger.

MULDER
Who is he?! What does he want with us?

BURSTYN
I'm telling you, I don't know! He doesn't
tell me what he wants, he just tells me what
to do!

MULDER
What's in it for you? What do you get when
you're done with Scully?

Burstyn finally gets angry.

BURSTYN
I . . . get . . . out!

Mulder lets go of him in disgust. Scully
stands up.

SCULLY
Ken, I have to talk to Mulder for a minute.
Can I ask you not to get up from that chair?
I don't want to have to tie you up.

Burstyn nods, looking balefully at Mulder.

CUT TO:
20. INT: SCULLY'S BEDROOM
Scully and Mulder confront each other.

MULDER
What do you think you're doing?

SCULLY
I'm trying to control our situation here. We
have to know what we're dealing with. (pause)
I'm sorry, Mulder, but it's your turn. There
are things you know that I don't. You haven't
told me what happened to you after I was
abducted and before I came out of my coma,
and I haven't asked. Now I need you to tell
me. Who are these people? And where do you
stand in all this?

MULDER
I don't know any more than Kenny does. That
man, Cancer Man, who sits in the back of
every meeting, smoking and listening: he's
the source, the link. Skinner knows, but he
won't give me a name. I had my chance, and I
didn't take it. I couldn't, not on his terms.

Scully doesn't like pushing Mulder this way.
He's not enjoying it too much, either.

SCULLY
Skinner told me you tried to resign.

MULDER
You were lying in that hospital, all because
I thought I had to know the truth, thought
there was something I *could* know. You were
going to die because of me, and there was
nothing I could do to change any of the lies!

SCULLY
How far did you go? How far were you going to
go?

He hesitates.

MULDER
Did your sister tell you anything?

SCULLY
She tried, but I wouldn't let her.

MULDER
I was given an opportunity. People were
supposed to be coming to my place for
information they thought I had about what
happened to you. I was supposed to stop them.
I was waiting with the lights out when
Melissa came to tell me the doctor didn't
think you'd make it.

Scully stares at him, astonished.

SCULLY
Mulder, that's crazy! The light from the door
would blind you, they'd locate you with your
first shot and it would be all over. Who
would tell you to do that?

MULDER
I have a friend in the FBI. (pause) Dana,
there's no one I can trust but you.

Scully decides to say one more piece.

SCULLY
As long as we're talking about it, let's get
one thing straight: you are not responsible
for what happens to me because we work
together. The FBI assigned me to the X-Files,
you didn't ask for that; and nobody forced me
to believe in you, that was my choice. I'm
your partner. Bureau or no Bureau: I choose
that, too. (pause) The truth isn't just about
Fox Mulder any more. OK?

MULDER
OK.

He takes her in his arms, cherishing her
close (and shutting her up).

FADE OUT.



ACT THREE

FADE IN:
21. INT: SCULLY'S LIVING ROOM, MORNING
Burstyn is still in the chair, with a blanket
and pillow. Awake now, he is watching Mulder
and Scully who have fallen asleep on the
sofa, Scully's head on Mulder's shoulder.
Tenderness, worry and determination chase
each other across Burstyn's face. Mulder
startles awake, not having intended to sleep,
and his movement wakes Scully up as well. She
sits up, a little bleary. Burstyn is quiet
and calm now.

BURSTYN
Good morning. Did you sleep well?

Scully ignores his sarcasm, pushing to her
feet with a hand on Mulder's knee.

SCULLY
I've got some work to do today.

CUT TO:
22. INT: FBI LAB 
Burstyn (wearing a too-small pair of
no-heeled fluffy slippers Scully lent him) is
taking a blood sample from Scully's arm,
while Mulder watches. Burstyn removes the
needle and Scully places a cotton ball on the
insertion point, curling her arm over it.
Mulder puts a hand on her shoulder and she
looks up at him, smiling a little. Burstyn
pockets the blood sample.

BURSTYN
Thank you.

Scully takes the vial of blue stuff out of a
pocket.

SCULLY
Where do we start, Ken? What can you tell me
about what's in this?

BURSTYN
When they took it away it was mostly
biochemical: experimental neurotransmitters,
endorphins, serotonin regulators, plus some
things we cooked up to stimulate receptors
and build up synaptic connections. What it
was when it came back, I don't know.

SCULLY
Is there anything else you can give me? Did
you bring any of the research with you?

Burstyn shakes his head. Scully looks at
Mulder, then incredulously back at Burstyn.

SCULLY
This is ridiculous. I don't know what they
expect me to find, working by myself, with
only the barest idea what I'm looking at. It
doesn't make sense, Ken. This can't be why
they sent you to me.

Burstyn spreads out his hands.

BURSTYN
I told him you wouldn't believe it.

Scully thinks a second.

SCULLY
Even if all they want is to intimidate us
with a hint of what they're doing--I have to
take a look.

Scully takes a lab coat off a hook and shrugs
it on.

FADE TO:
23. INT: MICROSCOPE SLIDE 
In the blue liquid we see a recognizable
cell, visibly pulsing and pumping something
out into the solution.

CUT TO:
24. INT: FBI LAB 
Scully sits at a microscope, peering intently
at the slide we just saw. Mulder stands guard
over Burstyn on the other side of the room.

SCULLY
This is incredible. I didn't expect to find
anything in this, not after we got an idea of
its composition. It can't be, but this is a
cell. Look at this.

She backs away from the microscope. Both
Mulder and Burstyn move toward her, but
Mulder gets there first.

SCULLY
It's a living cell. In a chemical environment
that should be toxic to a single-celled
organism, it's not only alive but it's still
producing the soup it shouldn't be able to
live in, much less secrete! Ken, you should
see this.

Mulder grudgingly lets Burstyn in.

SCULLY
That's your internal means of production,
Ken. They don't need an organ: these things
will lodge in the receptor areas in the brain
and just keep cooking up more of your
chemical enhancements. The immune system
won't attack them in the brain; so long as
they can sustain themselves in the subject,
you've got your source.

BURSTYN (a little too eager) 
What they have to do now is control the
intensity of the reaction as they build up
the substance levels in the system.

MULDER
What's really scary is if they succeed.

Reaction.

FADE TO:
25.  INT: FBI LAB 
Scully is still working at the microscope.
She drops a little liquid onto a slide,
covers it and puts it under the lens, looks
at it and makes some notations in an open
notebook. Mulder and Burstyn are still
standing off to the side, Mulder dividing his
attention between Scully and Burstyn, who is
doing some analysis of his own. Burstyn
stops, looks up at Scully pensively, then
says something to Mulder. Mulder goes over to
Scully.

MULDER
I'm taking Kenny to the little boys' room. Be
right back.

SCULLY
Knock yourselves out.

Intent on her work, Scully hardly looks up as
the two men go out.

CUT TO:
26. INT: MEN'S ROOM
Burstyn is drying his hands. Mulder's feet
are in a stall. Burstyn throws away the towel
and then makes a strange motion with his
right elbow and wrist. We hear a snicking
sound, and Burstyn looks down at his right
palm: it now cradles a small metallic disk.
Mulder flushes and comes out to the sinks to
wash his hands. The two do not speak to each
other. When Mulder turns to the paper towels
Burstyn reaches up with a rapid motion and
slaps his right palm on Mulder's temple: we
hear a sharp buzz, and Mulder spasms and
slumps as Burstyn catches him and lowers him
to the floor, unconscious. Burstyn checks
Mulder's pulse, tight-lipped, then gets up
and goes to the sink. He shakes the disk off
his palm into the drain and runs water over
it, watching it dissolve and flush away.

CUT TO:
27. INT: FBI LAB 
Scully doesn't look up as the door opens,
doesn't see that it is Burstyn, alone.

SCULLY
Mulder, take a look at this.

Burstyn, his face a determined blank, fishes
with his left hand in his pocket and brings
out a handkerchief which he squeezes in his
hand. He comes behind Scully, putting his
right arm across her from shoulder to
shoulder and holding her immobile against his
chest as he presses the handkerchief over her
mouth and nose with his left hand.

BURSTYN
Just breathe, Dana. They promised me it
wouldn't hurt.

She tries to speak, but she, too, slumps in
Burstyn's arms. She is not unconscious: she
stares into space with glazed eyes, and makes
a vague gesture with her hand (one's mind can
be a fascinating place when looked at from
the inside). He slides her to a sitting
position on the floor, leaning her against
the cabinet. He satisfies himself that she's
OK, then stands and collects all of her notes
and research materials, making sure he has
all of the sample and the counter-agent as
well as all of the slides. He gets a blood
kit out of a cupboard, then squats to take
another sample from Scully's arm, fumbling a
little. The sample secured, he sits looking
at her a second, touches her face and brushes
her hair with his fingertips. Her eyes turn
toward him and move away, unseeing.

BURSTYN
Best thing I've laid eyes on in a long time.
I'm sorry, D. I hope things work out for you
and Mulder.

He gets up, gathers all of the materials, and
leaves.

FADE OUT.



ACT FOUR

FADE IN:
28. INT: FBI LAB 
Scully's eyes are closed now, and she has
slumped the rest of the way to the floor.
Mulder bursts in and goes to her, enormously
relieved that she's still there but afraid of
what condition she might be in. He feels for
a pulse, and tries to sit her up.

MULDER
Dammit, Scully . . .!

Her eyes flutter open, and she puts a hand to
her head.

SCULLY
Mulder . . .?

MULDER
I'm here. Kenny knocked me out with
something. What happened? You were hardly
breathing.

SCULLY (bleary) 
Ken put something on my face . . . I don't
know.

Mulder looks around the lab, notes the
missing materials.

MULDER
All your work is gone--he must have taken it.
Are you OK?

She sits up a little, her voice clearing.

SCULLY
I think so. My vision's a little blurry . .
..

FLASH TO: 
29. INT: VISIONSCAPE 
We see the interior of another lab, from the
perspective of someone on a gurney (Scully);
turn to see an alien (a.k.a. E.B.E.) strapped
down on a table, and a lab-coated individual
wearing gloves and a mask drawing something
out of its arm in a syringe and walking
towards the camera to inject it into Scully.

FLASH TO: 30. INT: FBI LAB 
Scully grips Mulder's arm in shock at what
she's seen.

SCULLY
Oh my God, Mulder--I think I'm remembering .
. ..

She looks up at him, then turns her eyes away
to "watch" the memory/vision some more.

FADE TO:
31. INT: SKINNER'S OFFICE 
The CSM sits on the couch, not smoking for
once. Skinner paces angrily in front of him.

SKINNER 
We had a deal, "Cancer Man"! You didn't ask
this time!

CSM
An unhappy subordinate provided an
opportunity to perform a test. I took it. It
was a personal matter.

SKINNER 
I don't care how "personal" it was, you are
not to manipulate my agents! You are not to
involve them in your operations without full
cognizance by the Bureau.

CSM
Consider me a fractious teenager, Walter. I
didn't ask because I knew you wouldn't give
permission.

As he gets up to leave, he takes out his
lighter and cigarettes and starts to light
one, but stops before connecting the flame.

CSM
What I don't understand is why you think you
can protect them.

He lights the cigarette and goes out.

CUT TO:
32. INT: FBI HEADQUARTERS HALLWAYS 
Mulder and Scully are walking together.

SCULLY
I'm still not sure whether it was really
recall or just a hallucination.

MULDER
Whatever it was, Dr. Daly didn't seem to
think it hurt you.

SCULLY
I don't know. That was a pretty elaborate
setup, just to get some of my blood and give
me a vision.

MULDER
I think your guess was right. They want to
intimidate us: make sure we know what they're
capable of, and how close they can get to us.

CUT TO:
33. INT: X-FILES OFFICE 
A large, elegant bouquet stands resplendently
in a crystal vase on Scully's desk, and the
slippers Burstyn was wearing rest beneath the
flowers. Scully and Mulder enter, see this,
and exchange a look as Scully goes to open
the bouquet's card. We see the inscription as
Scully reads it aloud:

SCULLY
"D-- Thank you --K".

MULDER
Do you think it's really from him?

SCULLY (thoughtful) 
I hope so.

Reaction.

FADE TO:
34. INT: BLACK SCREEN 
[We could also just be looking at a door or
something, but the point is: we're not
watching this.] Sounds of kissing and lovers'
vocalizations. The following lines are
muffled by kisses on mouth and skin.

SCULLY (facetious) 
So how many kids do you want, Mulder?

MULDER
Fifty-seven.

SCULLY (laughing) 
Right now?!

MULDER
Right now.

Scully laughs again, and they get back to
business for a minute. Maybe the sound of a
zipper being undone.

SCULLY
Why do you have to have so many clothes on?

They both laugh.

FADE OUT.



THE END

Abbie Anderson
amanders@att.net



This last scene could easily be omitted. I
wrote it to get the "So are they gonna do
it?" question out of the way quickly, and to
indicate that this is a) not entirely our
business; b) fun and not a Big Deal; and c)
as such (both a & b) won't likely be changing
the tone of the show much. Since this is
fanfic, I can do anything I want to, right? 

It's a shame that Chris Carter et al have
tied the workings of the "shadow government"
so strongly to a conspiracy regarding alien
colonization plans. Stories like this one
which involve more conventional military
interests (which are more likely and
therefore more chilling as endeavors for a
Conspiracy, IMHO) can't be done on the X-
Files now, since any time the CSM shows up it
has to be about those inconsistently-behaving
aliens and the humans who alternate between
assisting them and covertly trying to deter
or at least delay them. The Mythology is very
nearly complete nonsense at this point(April,
2000); I'll always be sad that Carter made
such inconsistent and ultimately self-
defeating storytelling choices (storytelling?
What storytelling? It's just about the shock
effect we want to produce this time, right?).