The X-Files Page #22

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Mulder studies the photo intensely, when there's a KNOCK

at his door. Mulder turning to see:

SCULLY:

In his haste, Mulder had neglected to lock his door.

Scully is pushing it open. She's still in the same

clothes. She looks beat. Her eyes meeting Mulder's. A

gaze that says bad news.

MULDER:

What? What's wrong?

SCULLY:

Salt Lake City, Utah. Transfer

effective immediately.

Mulder is shaking his head. Not wanting to hear this.

SCULLY:

I already gave Skinner my letter of

resignation.

MULDER:

You can't quit, Scully.

SCULLY:

I can, Mulder. I debated whether or

not to even tell you in person,

because I knew --

MULDER:

We're close to something here -- we're

on the verge --

SCULLY:

You're on the verge, Mulder -- please

don't do this to me --

MULDER:

After what you saw last night -- after

all you've seen -- you can't just walk

away --

SCULLY:

I have. I did. It's done.

MULDER:

Just like that --

SCULLY:

I'm contacting the state board Monday

to file medical reinstatement papers

--

MULDER:

I need you on this, Scully --

SCULLY:

You don't Mulder -- you've never

needed me. I've only held you back.

(beat)

I've got to go.

And with that she exits his apartment, the argument too

painful, and her ability to be persuaded too clear to

herself.

INT. HALLWAY OUTSIDE MULDER'S APARTMENT - NIGHT

WIDE ANGLE FROM END OF HALL where we see Scully,

leaving Mulder's apartment. Moving at a hurried clip to

the elevator -- TOWARD CAMERA. As if anticipating her

own impulse to turn around and go back. As she moves

into f.g. Mulder exits his apt. door.

MULDER:

You're wrong --

He hurries to catch her. As she turns on him.

SCULLY:

Why was I assigned to you? To debunk

your work. To reign you in. To shut

you down.

MULDER:

You saved me, Scully.

(off her look)

As different and frustrating as it's

been sometimes, your goddamn strict

rationalism and science have saved me

a thousand times; have kept me honest

and made me whole. I owe you so much,

Scully, and you owe me nothing.

(beat)

I don't want to do this without you. I

don't know if I can. If I quit now,

they win.

She is silent, moved. In spite of all her desire not to

be. She moves to Mulder, holds him. They break slightly

and she looks up at Mulder with deep respect, admiration

and... kisses him on the forehead. When...

...suddenly a physical intimacy we've never seen. A

heat and passion that can't be denied. The opportunity

for the inevitable has presented itself.

The moment of truth has arrived. Mulder is staring at

Scully as she's looking back at him. His head moves

slightly toward hers -- as one of his hands moves up to

her neck, drawing her to him. Where there is hesitation

on her part, there is also desire. When:

SCULLY:

OUCH!!!

Scully pulls away from Mulder, RUBBING at her neck where

his hand had been.

MULDER:

What? What happened?

SCULLY:

I think... something stung me.

Scully's hand comes out with THE SQUIRMING BEE, which

she holds in her hand while Mulder moves around her,

checking her neck.

MULDER:

It must...

But he doesn't finish his sentence before he has to

catch Scully from falling. Her head bobs and she has to

catch it.

MULDER:

Scully...

SCULLY:

Something's wrong...

(fighting for clarity)

I'm having -- lancinating pain -- my

chest. My... motor functions are being

affected. I'm...

Mulder lays her down on the floor during this. Scully

continues to speak, though her eyes are not focusing.

She is limp in Mulder's arms.

SCULLY:

...my pulse feels thready and I've

got a funny taste in the back of my

throat.

MULDER:

I think you're in anaphylactic shock

--

SCULLY:

No -- it's --

Her voice is getting thin now, too.

MULDER:

Scully --

SCULLY:

I've got no allergy. Something...

this... Mulder... I think... I think

you should call an ambulance.

And Mulder is on his feet in a flash, running for:

CUT TO:

INT. MULDER'S APARTMENT - NIGHT - CONTINUOUS

CLOSE OVER PHONE as Mulder races into the apartment,

dashing TOWARD CAMERA, picking up the receiver, dialing.

HOLDING ON THE PHONE during this action. TILTING UP

for:

MULDER:

This is Special Agent Fox Mulder. I

have an emergency -- I have an agent

down --

INT. HALLWAY OUTSIDE MULDER'S APARTMENT - NIGHT

SCULLY - HANDHELD

Picked up and one-two-three loaded on a gurney by TWO

PARAMEDICS.

1ST PARAMEDIC

Can you hear me? Can you say your

name?

Scully is trying, but the words won't come out.

1ST PARAMEDIC

She's got constriction in the throat

and larynx -- are you breathing okay?

He lays his head down to her mouth.

1ST PARAMEDIC

Passages are open. Let's get her in

the van --

NEIGHBORS are in the hall now, along with Mulder. Who is

moving beside the Paramedics as they hustle the gurney

down the hall.

1ST PARAMEDIC

Coming through people -- here we go.

Coming through --

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