7ABX03 Böse Zeichen (englisches Transkript)

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Copygif.gif Die Charaktere, Handlungen, Zitate usw., die im folgenden Transkript Erwähnung finden sind © Chris Carter/1013/Fox Entertainment und (in der deutschen Fassung) Cinephon Synchron. Diese Abschrift ist ohne explizite Erlaubnis von den Rechtehaltern von Fans für Fans als Hommage an Akte X erstellt worden, wir verfolgen keinerlei finanzielle Absichten. Die Texte selbst sind Eigentum des jeweiligen Autors.
7ABX03 The Sixth Extinction
The Truth Is Out There
Copygif.gif Transcribed by CarriK

Edited by Libby, Used with kind permission from Libby (www.chelonium.plus.com)


Ivory Coast, West Africa


Beach. Night. Scully is alone, working by lamplight in a tent, looking at the rubbing of the artifact which first affected Mulder.

SCULLY: V.O. I came in search of something I did not believe existed. I've stayed on now, in spite of myself. In spite of everything I've ever held to be true. I will continue here as long as I can, as long as you are beset by the haunting illness which I saw consume your beautiful mind. What is this discovery I've made? How can I reconcile what I see with what I know? I feel this was meant not for me to find but for you to make sense of-- make the connections which can't be ignored. Connections which, for me, deny all logic and reason. What is this source of power I hold in my hand-- this rubbing-- a simple impression taken from the surface of the craft? I watched this rubbing take its undeniable hold on you, saw you succumb to its spiraling effect.

She takes off her glasses tiredly. A large locust-like bug lands on the rubbing.

SCULLY: V.O. Now I must work to uncover what your illness prevents you from finding. In the source of every illness lies its cure.

Scully gets up and turns down the lamp which seems to be attracting the bugs. As she does, she gasps as she sees a reflection in the glass – a Primitive African Man holding some sort of staff standing in the entrance to the tent, but when she turns he has disappeared.

SCULLY: Who's there? Who's there?!

There is no answer, only the sound of the surf. She turns the lamp back up, then picks up a very large machete and goes out to the beach to investigate. The insects now cover her papers inside the tent. Finding no one outside, she goes back into the tent and is horrified at the sight of hundreds of the insects swarming around the tent. She starts to turn down the lamp, but then screams and waves her arms as they surround her.


Georgetown Memorial Hospital
Washington, DC


Mulder is seen on a video monitor in a padded cell going in and out of a fetal position. Dr. Harriman and Skinner watch him. Music is sad.

DR. HARRIMAN: He's been quiet for the last 36 hours, but he doesn't sleep. There's activity in the temporal lobe we've just never seen. It won't allow his brain to rest or shut down, manifesting in episodes of aggression, sometimes against himself.

SKINNER: You can't sedate him?

DR. HARRIMAN: Yes. We slow him down for short periods and put him in the neuro ward. It's the only way we're able to run tests. But over time... his brain is going to just die.

Skinner looks concerned.

Short time later. There is the sound of a door unlocking as Dr. Harriman and Skinner enter Mulder's padded cell.

SKINNER: Agent Mulder?

No response, Skinner kneels down.

SKINNER: Agent Mulder, can you hear me?

Mulder stares at him. Two of Mulder's fingers on his right hand are bandaged.

SKINNER: Do you know who I am? It's Skinner, Walter Skinner.

Skinner stands up and turns to Dr. Harriman.

SKINNER: Can we get him out of here and get him some fresh air, at least?

Without warning, Mulder suddenly lunges at Skinner and grabs him by the throat and begins choking him against the wall. Mulder's face is stoic and impassive - almost calm. The doctor tries to restrain Mulder.

DR. HARRIMAN: Let him go! He can't breathe!

Mulder pushes Skinner to the floor, maintaining the choke-hold. Dr. Harriman runs out of the room and rings an alarm on the wall. Mulder still has Skinner pinned to the floor. Skinner is barely able to speak.

SKINNER: Let go, Mulder. I don't want to hurt you.

Dr. Harriman enters with two orderlies. They pull Mulder off Skinner and push him up against the wall.

ORDERLY: Come on, let him go.

DR. HARRIMAN: Stay there, Mr. Skinner.

SKINNER: No, it's all right. Just let me get up.

Skinner looks at Mulder who desperately stares back at him from where he is being held against the wall. Skinner goes out alone into the hall and regains his composure. He cleans off his glasses with his tie. Behind him we hear Mulder screaming in his room as the Orderlies restrain him. The alarm continues ringing.

DR. HARRIMAN: Five milligrams of Haloperidol IM! I want him in five-point restraints!

ORDERLY: Yes, sir.

While still listening to the alarm and the voices, Skinner reaches into his breast pocket and finds a small square of fabric from Mulder's hospital gown. Crudely written in what looks like fresh blood are the words, "Help Me." He looks back at Mulder's room.


Ivory Coast, West Africa


Two trucks full of several African Men pull up to Scully's tent site. They get out of the trucks and run toward the ocean and the buried craft. Still in one of the trucks, a man and a woman, the Driver and Amina Ngebe speak to each other in an African dialect. He points at the tent. Amina Ngebe, a very lovely, young African woman, gets out of the truck and goes into the tent. Dead bugs are all over the tent, on table, walls, everything. Scully still has wet hair, as if she has just finished bathing. Scully is packing and seems to be surprised to see someone. Amina Ngebe looks around the ten.

AMINA NGEBE: My God. What happened here?

Scully stares at her suspiciously.

AMINA NGEBE: They said you speak English.

SCULLY: What do you want?

AMINA NGEBE: I am sorry. You must wonder who I am. I am Amina Ngebe. I've come to see your discovery.

SCULLY: I asked that no one be told about it... nor that I'm here.

AMINA NGEBE: Yes. Well, uh, it is still a secret but a well-known one, I'm afraid. Dr. Merkmallen called it the African Internet, God rest him.

SCULLY: You knew Dr. Merkmallen?

AMINA NGEBE: I, too, am a professor of biology at the university but, uh, hardly one qualified to say what must have gone on here.

SCULLY: Well... I was working late last night by lamplight and, uh, I saw a man who vanished... and then they just swarmed.

AMINA NGEBE: You must not let the men know what happened to you last night-- the vanishing man, none of it.

SCULLY: Why?

AMINA NGEBE: They are animists, believing nature is vengeful. They'll take this as a sign to leave what you have found alone, a bad omen.

SCULLY: Caused by the ship out there?

AMINA NGEBE: Mm. Caused by God... who will be much less helpful than those men if we are to continue this work.

Outside, the men are working in the water to uncover more of the craft. One of the men begins screaming for help and says that the water is boiling. He splashes around as if in great pain. The other men exit the water, followed by the man in pain. Scully and Amina Ngebe come out of the tent at the sound of the commotion. Scully runs to the water's edge just as the man stumbles out of the water. He is covered in second and third degree burns.

SCULLY: The truck! He's got to get to a hospital! Hospital!

The other men lead the burned man to one of the trucks.

SCULLY: Okay!

AMINA NGEBE: You see? Another warning.

Disturbed, Scully runs after the wounded Man.


Georgetown Memorial Hospital
11:32 PM


Skinner walks covertly through the hospital corridors. Mulder is now strapped down to a bed - hands and feet - in a typical hospital room. He lies still, but looks tense, his bare foot rigid. Skinner enters quietly and closes the door.

SKINNER: Agent Mulder.

Skinner is holding the scrap of fabric.

SKINNER: I want to help you. I don't know what to do. I don't have much time.

Mulder taps the bed with his bound right hand impatiently.

SKINNER: Can you write?

At Mulder's affirmative glance, Skinner takes a pen and places it in Mulder's hand and holds out his own hand. Mulder slowly and deliberately writes the letters "K-R....." He continues writing, but we don't see the rest.

Night. Scully's tent on the beach in Africa. She is lying on her cot staring at the roof. Amina Ngebe sleeps in the cot beside her.

SCULLY: V.O. I feel you slipping away from me with every minute I fail here. What are the elusive meanings I cannot see that are hidden here? If I could understand it, know how it affected you, learn how to use its power to save you.

There is the sound and lights of a vehicle pulling up and stopping. Scully gets up and goes outside with her machete in hand. She slowly approaches the truck. Another driver is sitting behind the wheel.

SCULLY: What is it?

The African Driver gets out and speaks in his native language to her.

SCULLY: Look, I'm sorry. I don't speak your language.

He speaks again, indicating the ocean with his flashlight, then walks away a few yards towards the site of the craft.

DR. BARNES: Perhaps you need an interpreter.

Scully turns sharply and sees Dr. Barnes (from Biogenesis) staring at her. He looks a little less than sane. This is the man they suspect killed Dr. Merkmallen. She raises the machete defensively.

SCULLY: Stay away from me!

DR. BARNES: Are you going to hack me up in front of my driver? Word is you're under suspicion already.

SCULLY: You're the murderer here.

Amina Ngebe comes out the tent.

AMINA NGEBE: Murderer of who?

SCULLY: Dr. Merkmallen!

DR. BARNES: I murdered no one but I won't be sent away from here. I know what we've got. This craft that's come ashore? Its extraterrestrial origins?

SCULLY: You don't even believe in that.

DR. BARNES: Nor do you. But here we are.

SCULLY: I'm here only to help my partner.

DR. BARNES: Then let me help you... to read it. I've spent my life looking for what's out there ... the answer to what theologians have pondered for millennia... the key to everything... to life itself. I've already been threatened by men in Washington about what I know. How long would your secret keep if you were to send me away?

At the water's edge, Dr. Barnes' driver calls to them, beckoning them to the shore. All three run to where the driver is standing.

SCULLY: What is it?

AMINA NGEBE: It is a sea of blood.

Indeed, the water around the craft is blood-red, visible even in the darkness.


G Street
Washington, DC
5:05 AM


Hallway of an average middle-lower class Washington, DC apartment building. Skinner looks at his hand where Mulder had written "KRITSCHGAU," knocks at a door, #6, and a man, Michael Kritschgau from the beginning of season 5, opens the door, leaving it still chained.

SKINNER: Michael Kritschgau.

KRITSCHGAU: It's six o'clock in the morning.

SKINNER: I don't know if you remember me. My name's Skinner. I'm here to talk to you about Fox Mulder.

KRITSCHGAU: Yeah, I'm listening.

SKINNER: He's in serious condition Mr. Kritschgau; he has to talk to you.

KRITSCHGAU: I got nothing to say to the man.

Kritschgau starts to close the door but Skinner holds the door open.

KRITSCHGAU: You know, I had a job... with a government pension coming. And two years ago, Fox Mulder asked me to do him a favor-- blow the whistle on Uncle Sam's UFO propaganda mill. And all it got me was this swanky address.

SKINNER: Look, he doesn't have much time.

KRITSCHGAU: Hey, I'm not a doctor. What is it you think I can do for him?

SKINNER: All I know is that he asked for you.

Later, Skinner and Kritschgau enter Mulder's hospital room. Mulder is still in restraints and apparently comatose, eyes wide open. Monitors register Mulder's brain activity.

KRITSCHGAU: Can he even recognize me?

SKINNER: To be honest, I don't know.

Skinner crosses to Mulder's bedside.

SKINNER: Agent Mulder?

The monitor registers some brain activity, but there is no physical response.

SKINNER: His brain is on constant redline. They've got him on Haloperidol just to keep him on the monitors.

KRITSCHGAU: Haloperidol?

SKINNER: He becomes violently agitated. He just won't speak or sleep even when he's medicated. There's activity in part of his brain they've never seen before.

KRITSCHGAU: Was his...

Kritschgau stops speaking as the monitor attached to Mulder's brain registers some more activity.

SKINNER: Was his what?

KRITSCHGAU: I started to ask you a question about his prior mental state but he anticipated it. Second time. Agent Mulder?

The monitor registers activity again.

SKINNER: He claimed to be hearing voices.

KRITSCHGAU: I might know why Agent Mulder asked for me. Doesn't mean I can do anything for him.

SKINNER: What just happened?

KRITSCHGAU: I think he responded to a question... I didn't ask.

A lttle later, Skinner and Kritschgau pick the lock of a door and wheel Mulder into a deserted lab type of room in the hospital. There is an IV attached to the wheelchair, and Mulder seems non-responsive.

SKINNER: I don't know how long we can keep him out of that unit. We can be held responsible.

KRITSCHGAU: You asked me to come down here. You better be prepared to accept the responsibility, Mr. Skinner.

Kritschgau goes to a cabinet and readies a syringe.

SKINNER: You're going to inject him?

KRITSCHGAU: No. You are. With a thousand milligrams of Phenytoin.

SKINNER: I'm not injecting him with anything, not now and not till after I've talked to his doctor.

KRITSCHGAU: He's being given the wrong treatment.

SKINNER: You're not a doctor.

KRITSCHGAU: No, but I've seen his condition. Who do you want to trust?

SKINNER: Seen it where?

KRITSCHGAU: In a study. There's something like E.S.P. called "remote viewing."

SKINNER: Whose study?

KRITSCHGAU: The company's-- the CIA, Mr. Skinner. Extreme subjects would go into arrest, their minds working harder than their bodies could sustain. They became, in effect, all brain. Phenytoin was the only thing that could slow the electrical impulses to a normal rate.

SKINNER: Agent Mulder knew about this. That's why he asked for you.

Skinner slowly takes the proffered syringe which is really full, and injects it into Mulder's IV line. Immediately, Mulder's expression relaxes and he becomes more aware. Mulder speaks in a raspy voice.

MULDER: They're coming.

Hospital corridor. Agent Diana Fowley and the ICU Nurse are walking rapidly toward Mulder's room.

FOWLEY: Who last saw him?

ICU NURSE: I'm looking here.

FOWLEY: I come here and find a patient missing, and nobody knew?

ICU NURSE: I just came on. Sorry. Fox Mulder, right? He's restrained, it says; and he's not in his bed?

FOWLEY: No. How many times can I say it?

The two women enter the room and see Mulder lying peacefully on the bed, Skinner standing next to him.

ICU NURSE: He's right here.

DIANA FOWLEY: He wasn't here when I came in.

SKINNER: No, we just found him down the hall. I just got him back into bed.

ICU NURSE: Who are you?

SKINNER: I'm his boss, ...

He turns to Diana Fowley.

SKINNER: ...and hers.

ICU NURSE: Well, I don't know how he could have gotten up by himself or pulled all this stuff out.

SKINNER: Well, I hope someone's calling a doctor and making a report on this.

ICU NURSE: He's got to remain in this bed.

SKINNER: I'll stay with him. Agent Fowley, why don't you see if you can help her?

Fowley glares at Skinner.

SKINNER: That's an order, Agent Fowley.

Angrily, Fowley follows the ICU Nurse out of the room. Mulder licks his lips weakly, then looks up at Skinner. His voice is hoarse.

MULDER: She knows.

SKINNER: You can read her mind?

MULDER: Yeah. We got to act fast.

SKINNER: The doctor's on his way.

MULDER: No doctors. Get me Scully.

SKINNER: I don't know where she is.

MULDER: Look... I know you've been compromised. I know Krycek is threatening your life... Blackmailing you. You don't think I can trust you, but it's not you that I need.

SKINNER: Then who?

Kritschgau is entering the room as Mulder speaks.

MULDER: Him. Kritschgau. Ask him to prove it.

KRITSCHGAU: Prove what?

MULDER: What's causing this.

KRITSCHGAU: It's a brain abnormality. It's how you're able to read minds.

MULDER: What's causing this is alien. That's why my doctors can't help me.

KRITSCHGAU: I don't believe in aliens, Agent Mulder. I think you know that.

MULDER: I do. That's why I need you.


Beach. Day. Scully is piecing together the rubbings from the craft into a large jigsaw puzzle on the floor of the tent.

SCULLY: V.O. The work here is painstaking-- a slow and tedious piecing together. It appears to be a craft, its skin covered in the intricate symbols you and I both saw but which I now understand are part of a complex communication. Dr. Barnes has broken some of the symbols into letters using an ancient Navajo alphabet and, though it has helped to uncover some of what's here it has also made for greater confusion. On the top surface of the craft I'm finding words describing human genetics.

On graph paper she translates the names of the four basic nucleotides - CYTOSINE, GUANINE, ADEMINE, THYMINE. Production error: it's adenine.'

SCULLY: V.O. Efforts to read the bottom of the craft have been harder. Our workers were scared away by phenomena I admit I can't explain-- a sea of blood, a swarm of insects. But what little we have found has been staggering-- passages from the Christian Bible, from pagan religions, from Ancient Sumeria... science and mysticism conjoined. But more than words, they are somehow imbued with power. I've ignored warnings to quit this work, remaining committed to finding answers, afraid only that our secret here won't last and that I might be too late.

Outside, Dr. Barnes begins walking slowly toward the tent carrying a bag. Amina Ngebe arrives, glances at Dr. Barnes, and hurriedly enters the tent with some papers.

AMINA NGEBE: I have something to show you...more pieces of the puzzle. I couldn't believe it. I thought I was making it up in my head, that it could not be true.

SCULLY: What?

AMINA NGEBE: What this is. What the symbols spell out is a passage from the Koran. Qiyaamah. "The day of final judgment."

She is amazed.

AMINA NGEBE: On a spacecraft? Teachings of the ancient prophet Mohammed?

SCULLY: I found more, too.

Scully leads Amina Ngebe over to the section of rubbings she has been piecing together.

SCULLY: 24 panels... One for each human chromosome. A map of their makeup-- maybe a map of our entire genetic makeup...

She sighs in amazement.

SCULLY: A complete human genome. I mean, it's like... it's the most beautiful... intricate work of art.

AMINA NGEBE: It is the Word of God.

Dr. Barnes enters the tent with a burlap sack over his shoulder.

DR. BARNES: You're wrong. There is no God. What's out there on the water... is only what we call "God"... What we call "creation"-- the spark that ignited the fire that cooked the old primordial soup... made animate from inanimate... made us.

AMINA NGEBE: I believe he is mad from the sun.

DR. BARNES: Mad? I'm perfectly sane... because today I understand everything, beginning and end, alpha and omega, everything in between. It's all been written. But the word is "extraterrestrial."

SCULLY: You're sick, Dr. Barnes. You need to get off your feet, lie down.

Dr. Barnes picks up Scully's machete and holds it threateningly.

DR. BARNES: You think you're going to take the credit? This is my discovery.

SCULLY: I'm only here to help my friend.

DR. BARNES: You can't help him. You're wasting your time reading it.

SCULLY: It has power.

DR. BARNES: It is power... the ultimate power. Your friend just got too close.

He crosses to a corner of the tent and sits.

DR. BARNES: No one leaves here before me.

Scully and Amina Ngebe watch him nervously.


Mulder's hospital room. Skinner and Kritschgau have set up three small video monitors facing away from Mulder but within his reach. Several different pictures, including that of a flying saucer, flash in random sequence on each of them.

KRITSCHGAU: We developed this to test remote-viewing capabilities. It works much like a card trick. You tap the monitor where the saucer image appears when it appears or when you think it does. Okay?

Mulder attempts a joke.

MULDER: Who ya gonna call?

Kritschgau gives a signal and Mulder begins tapping the monitors in succession. Only a few times does he hit the correct monitor when the flying saucer appears.

MULDER: Now. Now. Now. Now. Now. Now. Now. Now.

KRITSCHGAU: All right, Agent Mulder, fine. You're at about five percent accuracy.

SKINNER: I'm assuming that's low.

KRITSCHGAU: Yeah. At the CIA a high degree of ability was 20%. 25% was extraordinary.

MULDER: But I see them in my head.

SKINNER: You saw his ability earlier. It was you who pointed it out.

KRITSCHGAU: Well, our tests showed that some people have psychic abilities, sure. I mean, E.S.P., clairvoyance, remote viewing but it was never attributed to aliens.

MULDER: You don't want to believe. You're not looking hard enough.

Kritschgau reaches to turn off the monitors, but Skinner stops him.

SKINNER: One more time, faster.

Kritschgau reluctantly starts the test again, this time increasing the speed of the images. Mulder begins tapping rapidly, with perfect accuracy.

KRITSCHGAU: He's ahead of the images. He's anticipating.


Scully's tent in Africa. Night. Scully and Amina Ngebe lie awake on the cots. Dr. Barnes, still holding the machete, sits guard in the corner. Suddenly, everything in the tent shakes, as if a low-level earthquake has hit nearby. Glasses on the table clink. Dr. Barnes looks in amazement at the burlap bag he brought in with him. It is moving from within. He pulls out several live squirming fish.

DR. BARNES: They've come back. They were dead. They've come back to life! The ship-- it brought them back to life!

Dr. Barnes turns just in time to see Scully hit him over the head with a chair. She and Amina Ngebe run to the truck. Amina Ngebe starts the engine and they quickly drive away.

SCULLY: We have to get to the police.

AMINA NGEBE: That is where I'm going. This is the road to Abidjan.

Ahead in the middle of the road, Scully sees the Primitive African Man.

SCULLY: Stop!

Sound of tires squealing as Amina Ngebe slams on the brakes. When Scully looks again, the Primitive African Man is no longer there.

SCULLY: That was him. That was the man I saw in the tent... in the road.

Scully turns back to Amina Ngebe, but in the woman's seat, she sees the Primitive African Man staring at her.

PRIMITIVE AFRICAN MAN: Some truths are not for you.

He reaches out and touches her face. She sits frozen, immobile. Suddenly, the Primitive African Man is once again Amina Ngebe. She is touching Scully's face. Scully stares at her.

AMINA NGEBE: Are you all right?

Scully gasps.

SCULLY: Oh, God. What are you doing?

AMINA NGEBE: You were cold. I was just feeling to see if you were still alive.

SCULLY: What happened to you?

AMINA NGEBE: To me?

SCULLY: You slammed on the brakes. There was a man.

AMINA NGEBE: That's right-- in the road.

SCULLY: No. He was right there-- sitting right where you are in your seat.

AMINA NGEBE: The men were right. This is a bad sign. A sign to give up.

Amina Ngebe starts the engine and begins driving again.

SCULLY: Turn us around.

AMINA NGEBE: Not back to the beach.

SCULLY: No... I'm going home.

Mulder's hospital room. Mulder stares into space. Skinner is in the room.

SKINNER: Agent Mulder.

He takes Mulder's face in his hands.

SKINNER: Agent Mulder, I don't know if you can hear me but we're going to try to get you out of here.

Skinner begins unfastening the restraints. Kritschgau enters the room quickly.

KRITSCHGAU: A.M. nurse is on in five minutes. We got to move.

SKINNER: I don't think he's in any shape.

Kritschgau prepares a syringe.

KRITSCHGAU: I'm going to hit him pretty hard. Maybe we can get him on his feet.

SKINNER: What are you doing? I know what you're doing.

KRITSCHGAU: I'm trying to help him.

SKINNER: No, this isn't about him -- it's about you, it's about revenge against the government for trying to destroy your life.

KRITSCHGAU: I was destroyed to protect what Mulder knew all along. Now he's the proof-- he's the X-File.

Skinner takes the vial from Kritschgau.

SKINNER: We can't just keep shooting him full of drugs. It's gone too far.

KRITSCHGAU: How far should it go? How far would Mulder go?

Skinner considers, looks at Mulder, then hands the drug back to the other man. Monitors beep. Just as Kritschgau gives Mulder the injection, Fowley, followed by a team of doctors and nurse bangs into the room. Monitors beep faster.

DR. HARRIMAN: Hey! What's going on here?

Fowley speaks to Kritschgau.

FOWLEY: Let me see your hands. Hands!

Kritschgau holds up his now empty hands.

FOWLEY: Step away.

SKINNER: Agent Fowley, what the hell do you think you're doing?

FOWLEY: What am I doing? What are you doing, Sir, with this?

She holds up the used syringe that was still on the bed - she turns back to Kritschgau.

FOWLEY: I want you to face the wall. Do you hear me? Face the wall.

SKINNER: Let me explain.

DR. HARRIMAN: What was this man given? What was in this syringe?

Fowley looks at the vial.

FOWLEY: Phenytoin.

SKINNER: Let me tell you what it does.

DR. HARRIMAN: How much did you give him? What dosage was this?

SKINNER: Let me tell you why we did it.

Just then, the medical equipment attached to Mulder begins beeping rapidly and Mulder begins convulsing. The hospital staff, Skinner and Fowley move to hold him down.

DR. HARRIMAN: He's going into seizure. Watch his head. Mr. Mulder? Can you hear me? Hold him. Hold him.


Beach. Africa. Day. Dr. Barnes' Driver is looking for Dr. Barnes in the tent.

DR. BARNES' DRIVER: Dr. Barnes...

He speaks in his native language

DRIVER: ...Dr. Barnes. Dr. Barnes?

The driver turns to see Dr. Barnes standing behind him with the machete.

DR. BARNES: I'm so sorry.

The driver screams as Dr. Barnes slams the machete into his neck, killing him instantly. Dr. Barnes then drags the dead man into a corner of the tent.


Mulder's hospital room. He is still restrained. Diana Fowley is standing beside his bed.

FOWLEY: I know what's happened to you. I know what you're suffering from. I've been sitting back and watching. I know you know. I know you know about me... That my loyalties aren't just to you... but to a man you've grown to despise. You have your reasons, but as you look inside me now you know that I have mine.

She touches his cheek.

FOWLEY: Fox... Fox, I love you. I've loved you for so long. You know that, too. And I won't let you die... to prove what you are, to prove what's inside you. There's no need to prove it. It's been known for so long. Now we can be together.

She kisses his forehead and turns and leaves.

Throughout her monologue, Mulder has remained as if comatose, but as soon as she leaves and the door closes behind her, his eyes drift to the side as if he is thoughtfully considering what she told him.


Dulles International Airport
9:25 AM


A plane lands. Later, at the FBI building, people get out of the way as Scully, still in her African outfit, looking quite rumpled and travel weary and probably not smelling her best, yet marching with the purpose that only she can have when her partner is in jeopardy, gets off the elevator and enters Skinner's office without even knocking.

SCULLY: Where is he? Is he still in the hospital?

SKINNER: Where have you been?

SCULLY: Is he still at Georgetown Memorial?

SKINNER: You can't get to him.

SCULLY: Do you know where he is or don't you?

SKINNER: He's in the neuro-psych ward but it's no good, Agent Scully.

Scully starts to leave.

SKINNER: Agent Scully!

SCULLY: I have been on a plane for 22 hours. I have to see him.

SKINNER: Then I think you should know what you're going to see if you can even get on the ward. There's been some trouble.

SCULLY: What kind of trouble?

SKINNER: I got this man, Kritschgau, involved.

SCULLY: Kritschgau?

SKINNER: It's a long story, but it ended badly. They've got Mulder under security now around the clock. I take full responsibility.

SCULLY: Responsibility for what?

SKINNER: He can't even communicate, Agent Scully. They won't treat him because they don't know what's wrong with him. They said he was dying. I had to do something.

SCULLY: He's not dying.

SKINNER: I'm afraid it's true.

Scully is calm and deliberate.

SCULLY: He's not dying. He is more alive than he has ever been. He's more alive than his body can withstand. And what's causing it may be extraterrestrial in origin.

SKINNER: I know. But there's nothing to be done about it.

Scully starts to leave again.

SKINNER: They're going to deny you access.

SCULLY: Maybe as his partner... but not as his doctor.

She turns and leaves the office.


Africa. Night. Remains of a fire are outside. Another earthquake like rattling. Dr. Barnes is clearing away papers. He looks to where the dead body of his driver had been lying, but the body is gone. He looks around nervously.

DR. BARNES: He's alive. He's come back to life. Holy Mother of God.

Dr. Barnes picks up the lamp and goes out onto the beach.

DR. BARNES: Hello?

Dr. Barnes runs to the shore, toward the ship. He gasps as he turns and sees his now-resurrected driver standing behind him. Then he screams as the driver cuts him down with the machete. Dr. Barnes falls dead into the surf.


Mulder's hospital room. Mulder is staring straight ahead, unseeing. Through the babble of voices that we are hearing in his head, one voice comes through clearly, though as if from a distance. Mulder weakly turns his head in the direction of the voice.

SCULLY: I need to see him. I'm begging you, please. Thank you.

She is standing in the doorway to his room talking with Dr. Harriman and two security guards. They let her pass and close the door as she approaches Mulder's bed. She speaks to Mulder gently.

SCULLY: Mulder, it's me. I know that you can hear me. If you can just give me some sign.

No response.

SCULLY: I want you to know where I've been... what I found. I think that if you know, that you could find a way to hold on.

She whispers.

SCULLY: I need you to hold on. I found a key... the key... to every question that has ever been asked. It's a puzzle...

Her voice begins to break.

SCULLY: ... but the pieces are there for us to put together and I know that they can save you if you can just hold on.

She is almost crying as she pleads with him, gripping his hand tightly, staring into his blank face.

SCULLY: Mulder... please. Hold on.

Africa. Morning. Amina Ngebe arrives with several police officers. They find Dr. Barnes' dead body on the beach. Amina Ngebe looks into the ocean. The craft that was buried in the sand now appears to be gone.

To Be Continued