Teaser: (see above)

Scene One: (Mulder and Scully are returning from the restaurant. It is now, somehow, morning. It is also November. The case is taking a long time, isn't it? )

SCULLY: For the thousandth time. No. N. O.. No! (All right then, the case isn't taking very long!)

MULDER: But why? (He's been pestering her all the way home, despite what he said earlier. Get used to the fact that from now on things will be very odd. In fact, worse than when they had to share a house in "Arcadia" - this time the living space is a lot smaller!)

SCULLY: I've told you, Mulder. If I agree, both of our jobs will no doubt be on the line.

MULDER: You know I'd risk my career for you, Scully.

SCULLY: And you know that I know that! I'd do the same, but I don't want you to.

MULDER: Scully, listen to me: if you agreed, I'd risk my badge, my job and my life to save your career. (Aww!)

SCULLY: For the second time in as many minutes, I know. (Pause) I know.

MULDER: If you know, then why not?

SCULLY: You want to know the truth? (Mulder nods. They're outside her apartment, soon to be their apartment!! Scully was expecting Mulder not to want to know the truth - duh - and doesn't actually have an answer, so she compromises:) No you don't. And besides, we're still technically assigned to this case. Skinner is already getting suspicious, and apparently so is the Director. It's taking far too long.

MULDER: Stick to the case?

SCULLY: Yes. (Scully finds her key. She places it in the lock. Before she can turn it, though, Mulder grabs her hand, [leaving the unturned key in the door], opens it, and places the boxed ring into her palm.) Mulder, it's no good hinting, or trying to bribe me. Again. (Mulder takes the box from her, opens it, and waves the ring in front of her.)

MULDER: Aren't you even curious how much I paid for it? (Just a little half-quote to "Deep Throat")

SCULLY: No. Forget it. (She snaps the box lid shut, closes Mulder's hand around it, and finally gets around to turning her key.) After you - lodger. (Mulder enters. As Scully is about to enter, one of her neighbours, a nosy one, peeks out from behind the door. She has an accent like Daphne from "Frasier")

NOSY NEIGHBOUR: Oh, I see you've got a room-mate.

SCULLY: Only temporarily. One week and he's out.

NOSY NEIGHBOUR: (She's about to go back inside, when she 'realises' something, as nosy neighbours have a tendency to do.) I've seen him before, haven't I?

SCULLY: (Trying to avoid the conversation:) Probably not.

NOSY NEIGHBOUR: No, I have seen him around here before. Isn't he your partner. Agent Mulder, isn't it?

SCULLY: Yes.

NOSY NEIGHBOUR: Does your boss know?

SCULLY: No, and I'd thank you not to tell anyone.

NOSY NEIGHBOUR: If anyone asks, I'll say it's a relative. (It’s obvious she won’t! In fact it’s exceedingly obvious that she’ll tell anyone who asks a long-winded story about what goes on!)

SCULLY: Thank you.

NOSY NEIGHBOUR: Just out of interest, why is he staying with you?

SCULLY: (she suddenly has a VERY clever idea, and puts on her most patronising tone of voice.) What would you say if I told you I was a (sotto) secret agent.

NOSY NEIGHBOUR: I'd be . . . curious!

SCULLY: How do feel about living in the same building as me? All those secret agency type gizmos. Must be very exiting for you.

NOSY NEIGHBOUR: It would be, but. . . er . . what exactly does a (imitates sotto:) secret agent (normal) do?

SCULLY: (smiles to herself.) Well, if you promise not to let on to anybody, I'll tell you! (The neighbour nods, getting more intrigued by the minute. Scully has something special planned here, you just know it. Wait for it.) Undercover work. (She leaves this thought to sink in, quickly turns around, making her hair flick [not difficult!], and enters the apartment, shutting the door. The neighbour finally realises what she's said! [Have you?])

MULDER: What are you so happy about?

SCULLY: Oh, nothing. But, do me a favour. Don't talk to the woman next door!

MULDER: I won't. Why?

SCULLY: Because there's a likelihood she might try to interrogate you.

MULDER: About what, exactly?

SCULLY: Nothing, forget I said anything. Doesn’t matter.

MULDER: Is there something I should know?

SCULLY: No. Forget it. (She goes to the answering machine and plays the message.. Mulder has 'investigated' the guest room, and placed one small suitcase - what little he managed to save from his home - on the floor. We can only presume, [and hope!], that he managed to save at least ONE suit, and. please God, no ties! Scully can help him pick out a few tasteful ones!)

MESSAGE: Hi, Dana, it's mom. Great news! Charles was getting married today. I tried to call you this morning, but you weren't in. It's now about 9:30*. Anyway, you now have a sister in law! Her name's Amanda. Call me when you get in. Er...Bleep? ([PHONE CLICKS] [BEEP] *At this point, Scully checks her watch - it's 9:45. She's just 15 minutes over - duh!!! Tell us something we don't know, stupid! [Note the name means "lovable" in Latin.] Mulder, who wandered off to the kitchen, reappears in the lounge.)

MULDER: Who was that?

SCULLY: My mom. Look, I don't want to appear inhospitable or anything, but I've got to go out again.

MULDER: It doesn't matter. I don't mind - I'm not exactly the best house guest in the world, either.

SCULLY: You have no idea how glad I am that you didn't tell me that in the car! I'd really better go see her. (She goes into her room, shuts [and locks!!!!] the door, and comes back out again several seconds later, changed into casual clothes. She bids Mulder goodbye and waves. As she goes out the front door, she walks into the neighbour, who was attempting to watch through the peephole! Mulder makes sure she is far enough away - i.e.: listening for her car to drive off. Then he goes to her phone, and dials a familiar number.)

MULDER: Hello, Danny Valodeo, please. It's Agent Mulder. . .Danny, hi. . .No, I don't need any extra-terrestrial photographs this time. . .What do you mean it'll cost me? Well, I've got some baseball tickets. Will they do?. . .I need you to get me a list of every hotel in America. . .I don't care about the cost. . .Yes, it might be for someone in particular. Then again, it might not. . .Thanks, Danny. Bye. (he replaces the receiver. As he goes to a nearby table, where Scully's case notes are lying. As he reads through them, he spots her cross on the floor, and picks it up. He reads through the notes, and suddenly has an idea. He hurriedly writes her a message, then hurries out.)

Scene Two: (Scully enters her darkened flat. Caption: "11.02 PM". On her telephone table, there is Mulder's note. She reads it to herself quietly, looking puzzled. Her cross is lying on top of it.)

MESSAGE: (camera view of it...) "Scully, I have gone out. By the way, you lost this again. I found something useful in your case notes, but I couldn't reach you. You must have turned your phone off. See you in 24 hours. Mulder." (She dials his cell phone number.)

MULDER: Mulder.

SCULLY: (VO) It's me. Where the Hell are you?

MULDER: (observes a passing road sign.) I'm in. . .Wisconsin.

SCULLY: (VO) Why? What's in Wisconsin?

MULDER: You tell me. Aliens? Poltergeists? The Truth?

SCULLY: (VO) Damnit, Mulder, just tell me. I read your note. What's so important?

MULDER: I realised that all the victims were born in 1966. At first I thought - coincidence? Then I figured out that it probably isn't, but I thought I'd track the latest victim's family. Which reminds me - when was your brother born? (shot goes to Scully)

SCULLY: The younger or the older? (She has her hand on the table, with the cross idly swinging over the edge. Yep, she's close to losing it again. She's not going to this time!)

MULDER: (VO) The younger.

SCULLY: 1966, why?

MULDER: (VO) Just interested.

SCULLY: Why did you want to know, Mulder? Do you suspect my brother Charles is next on the killer's list? What are you up to?

MULDER: (VO) Nothing. I'll see you later. (he switches off his phone. In apartment - Scully frowns as she puts down the phone. She puts her cross back on, for the millionth time this century, then goes to sleep. This time she doesn't have the now infamous dream. Why? Because the proposal it was warning her about has happened! We all know Scully has weird premonitions, which is just a typical cliché type thing to happen to the sceptic.)

SCULLY: Yeah, Mulder, what is it?

MULDER: I need you to get to Wisconsin General right away.

SCULLY: Why?

MULDER: Your brother, Charles, has been shot. He's in the hospital here, in critical condition.

SCULLY: What?

MULDER: I'll explain when you get here, just leave now!

SCULLY: This isn't another set-up is it? Because if it is, then I think it's a very sick joke.

MULDER: I need you to believe me this time, Scully. If you don't leave now, he may not be alive when you get here. (a rather muffled voice is heard calling "Agent Mulder".) I have to go and talk to somebody right now, but I'll tell you more later. ([phone clicks])

SCULLY: Mulder? Mulder? Damnit. (She puts the phone down with an expression of disbelief, then gets up quickly. Blackout.)

Scene Three: (Blackin as Scully parks her Lariat Rent-A-Car outside Wisconsin General Hospital. She gets out of the car and runs to the entrance, crashing into somebody with a broken arm, who protests loudly. She apologises quickly, and rushes to reception.)

SCULLY: Where is Charles Scully, please?

RECEPTIONIST: Name? (she is tired, and reluctant to let her enter.)

SCULLY: Dana Scully. I'm his sister.

RECEPTIONIST: Down the hall. On your left. (Scully runs down the indicated corridor. A clock shows 12:32 - work it out. At each door she looks in, until she sees Maggie, on 'kid-watch', like in "Paperclip". Scully enters the room.)

SCULLY: Hi, mom.

MAGGIE: Dana, you finally got here.

SCULLY: What happened?

MAGGIE: Did you get my message? (Scully nods and sits down.) Well, Charles, Amanda and I were returning home from the wedding. Suddenly there was this huge bang, it scared me half to death. Amanda screamed, I turned to look and . . .well, you can see what happened. (A doctor enters)

DOCTOR: Ms. Scully? (Both Scullys look up.) Your partner is here. (The younger Scully gets up, and goes out into the corridor to meet Mulder.)

SCULLY: Mulder, what's going on here? Who shot him?

MULDER: I don't know.

SCULLY: You said you'd tell me more when I got here. So, go ahead.

MULDER: I was merely informed of the incident, Scully.

SCULLY: OK, what were you informed?

MULDER: The witnesses described him as. . .

SCULLY: I don't want a description! I want a name. Besides, if your theory is still correct, then the description is useless anyway. (There is a commotion in the op room. Scully looks through the small window to see what is happening. Numerous doctors are operating on Charles while Maggie watches from the far wall. Eventually, slowly but surely, the doctors are unable to help him any more, and decide that they can't save him. Maggie looks at her daughter through the window, and shakes her head. Scully storms off down the corridor, a feeble attempt to once again hide her feelings from Mulder. Mulder follows her, calling.)

MULDER: Scully! (just to prove my point!!! Eventually he manages to stop her, by grabbing her by one shoulder and saying:) Dana... (Well, she obviously wasn't going to reply to his previous calling, was she?! As he does so, she spins around, now close to tears.)

SCULLY: Mulder, what have I told you about following me!

MULDER: Scully, if I don't follow you, you're going to get yourself hit by a car. We don't want two of the Scully children dying in this hospital.

SCULLY: (Mulder still has his hand on her shoulder. She shrugs it off.) I don't know if anyone's ever told you, but you're not the best person to comfort someone.

MULDER: Sorry, but it's true. (Maggie saves the day. She comes out of the op room, and Scully goes to meet her.)

SCULLY: Are you OK? (Maggie doesn't respond.) Mom?

MAGGIE: I can't believe it. Another of my family gone. All I have left is you and Bill Jnr. (Not if I have anything to do with it! DIE BILL DIE! DIE BILL DIE!!!! BILL WILL DIE IN A HORRIBLE WAY BEFORE I AM 20 OR THERE IS SOMETHING WRONG WITH THE WORLD! [Ahem] Sorry.)

SCULLY: I can hardly believe it myself. Just a few hours ago, Mulder and I were talking about. . . (she has a sudden realisation.) . . .just a second. I'll be right back. (She goes back to a patiently waiting Mulder, gesturing the waiting room in reception. The hospital looks exactly like the one in "F-R-I-E-N-D-S", ironically!! Mulder and Scully go to the waiting room, and sit down in a corner.)

MULDER: What is it, Scully?

SCULLY: I just thought: we were talking about my brother on the phone. And now, this happens.

MULDER: And. . ?

SCULLY: You never did tell me why you needed to know when he was born. So, why?

MULDER: It turns out the lead I thought I had was a complete failure. I realised, like I said, that the other victims were born in 1966. Then I realised that you had a younger brother. When I knew that he was born in 1966, I decided that I would follow the lead.

SCULLY: But how did you know that my brother lived in Wisconsin?

MULDER: I didn't. The weird thing is, I stopped at a service station, and there was a shot fired. The rest you can work out for yourself.

SCULLY: More coincidences. This is really starting to freak me out, Mulder.

MULDER: It would anybody.

SCULLY: You were saying about witnesses?

MULDER: One witness. She's arranged to be interviewed in two days. I said we'd do the honours. That was before I knew who the victim was . . .

SCULLY: It's OK, Mulder. I can handle it. (there is a long pause, the silence broken only by some doctors bursting in with another shooting victim, born in, according to their chart, 1966! This affects Scully, for unknown reasons - who knows how her mind works at times like this! - and one tear escapes, rolling down her left cheek. Aww! Mulder comforts her as she tries not to break down. What's that, the fourth time this multiple-parter!? Maggie appears in the corridor, as Mulder and Scully finish their hugs. [Is it just me, or do they always seem to have the best hugs in hospitals!!! And Hallways, or both combined!] As Scully looks up, Maggie notices that Scully has yet another nose-bleed, and panics.)

MAGGIE: Oh my God. Are you all right?

SCULLY: Yes, mom, I'm fine. This happens all the time. (She fumbles in her pocket for a handkerchief or similar. She hasn't got one. Maggie hands her one, and she cleans herself up. Then she realises she's bled on Mulder's coat as well!) Sorry, Mulder.

MULDER: Don't worry about it. I suggest we take your mom home. Do you want to get that checked out?

SCULLY: No, I'm sure it's fine.

MULDER: OK. Mrs. Scully, are you all right too?

MAGGIE: I think so.

SCULLY: Do you want me to stay with you?

MAGGIE: No, I can cope, thank you. Both of you go home.

MULDER: How literal that now seems, Scully.

MAGGIE: What do you mean?

SCULLY: Mulder's staying with me temporarily, until he can find a new place to live.

MAGGIE: Oh, I see. Shall we leave. This place is giving me the creeps. (Mulder nods, and he and Scully get up. Scully joins Maggie, as Mulder leads the way to his car. [Whatever will become of the Lariat - it's being left all on it's lonesome!!!!] Sorry to break up the plot there!!! Anyway, Scully and her mother follow Mulder.) Good for you, Dana.

SCULLY: What do you mean?

MAGGIE: You're finally living with someone. To tell you the truth, I'd rather it be him than anyone else. At least you can trust him!

SCULLY: I know I can. (pause. Scully decides to break the nasty setting by cracking what we hope is a joke.:) The question is, can he trust me?

MAGGIE: Dana! You wouldn't dare! (they leave, getting into Mulder's car, in a 'giggly' mood. Mulder wants to be let in on the joke, but neither one of them is going to tell him!!! I wonder why!!!)

Scene Four: (In Scully's apartment - Mulder is on the phone. Scully is sculking [sorry!!!] sulking in front of the television.)

MULDER: (as quietly as possible, without Scully overhearing.) Danny, hi . . . do you have that list I asked for yet? . . . Great! So. . .(he writes down the details as he hears them) the Old Deut Hotel is. . . HOW MUCH?! No. That's too expensive. . The Gus Theatre Hotel? . . Still too much. Anything cheaper - more my price range? . . .The Gumbie Rum Barrel. . .TOO cheap! Who do you think you're talking to, here? (he scribbles out the three names in anoyance with a big ‘X’, as Danny tells him exactly who he thinks he’s talking to! He stares at it, realises how corny it looks and turns it into a star instead.) There must be something in between. . .The New York Hotel and Restaurant. Perfect. Thanks, Danny. I'll send the baseball tickets tomorrow. (he puts down the phone, and goes to stand by Scully, leaning on the back of the sofa.) Scully?

SCULLY: Yeah?

MULDER: Are you watching this?

SCULLY: No.

MULDER: Good. (he reaches for the remote. At the moment the news is on. He flicks through the channels: first, it's a sporty type programme - BORING; next, a history programme about pyramids and Egyptian stuff. He leaves it on.) Isn't it a new theory that the pyramids were built by extra-terrestrials.

SCULLY: That's your theory, Mulder.

MULDER: Are you OK? You seem a little out of sorts.

SCULLY: I'm fine. Why do you ask?

MULDER: It's just that you don't normally speak in a monotone. (Scully is already bored with the Egyptian programme, so she turns it off, switching back to the news.) Make your mind up! (A hint?) Do you want a coffee or something? (Scully shakes her head. Mulder goes to make himself some coffee. Scully listens to the news bulletin.)

NEWS-READER: There was another murder today in the Baltimore area. The victim was male, in his early 30s, believed to be 31. He was shot in the head*, and died within three hours of intensive care. Police are searching for any new evidence which could lead to the capture of the criminal responsible. We'll keep you posted...(*At this point, Mulder sits down, but not before she steals his coffee, deciding she does want some after all. She’s rather out of sorts I think. She finally realises that the victim was Charles, and begins to cry. Mulder attempts to comfort her, and he puts his arm around her. She hugs him back, a little like "Irresistible" sitting down, really.)

Scene Five: (FBI, HQ - Mulder and Scully are interrogating the witness, mentioned in the earlier scene. Scully takes notes, like the good FBI agent.)

SCULLY: Can you remember anything else?

WITNESS: It's like I said. I was walking down the street, when suddenly I heard a shot fired. This man came running at me.

SCULLY: Well, surely you can describe him.

WITNESS: No, because he was wearing a mask, and he nearly knocked me over. I yelled at him: "Hey, jerk!", but he just ran off.

MULDER: You live in Baltimore, right?

WITNESS: Yes.

MULDER: Would you tell me what you were doing in Wisconsin two days ago?

WITNESS: Visiting a relative. I was staying in one of the hotels, and decided to go for a walk. Then this guy just. . .

SCULLY: Thank you, we caught that part the first time.

MULDER: Do you know if the police uncovered any strange elongated fingerprints? Like these? (He takes the photos from the "Tooms" case from his jacket pocket, being careful not to take out the ring with it. Scully gives him one of her 'looks'.)

WITNESS: No, I don't think so.

MULDER: You're absolutely sure? (Scully kicks him in the shins!! Think about exactly HOW long we've been waiting for that moment!!!!!)

SCULLY: You're free to go.

WITNESS: You're not gonna put me into protective custody or anything?

SCULLY: No, we only do that if you're in any direct danger, which you're not. (The witness nods in a confused and not-quite-with-it sort of way, then gets up and leaves.) What the Hell are you doing, Mulder?

MULDER: Trying to eliminate every possible suspect, Scully.

SCULLY: Tooms is not a suspect, he's dead!

MULDER: Can't you take a joke?

SCULLY: No. Apparently not. (She gets up, goes out, and slams the door behind her. Mulder gives a "Whoops-that-was-not-the-best-cheering-up-approach" look to nobody in particular.)

"Mulder, I have gone to my mother's for a few days. You probably would have guessed that anyway, but I just thought I'd leave you a note so you wouldn't worry. I think she needs some company right now. I'm sorry about earlier. I need time to think - you're on your own!

See you whenever,

Scene Six: (In a dark room, we see a television and the back of an armchair - it's the killer's chair from "Love Long & Prosper"!! The news is on again. Maybe I should say CNN is on again, but then again I probably can't!)

NEWS ANNOUNCER: The FBI just revealed that they know the pattern of the murders. It seems that all the victims were born in 1966, and the murders have taken place in different counties. At the moment the killer is unidentified. We'll remain, with more news when we get it. And now, the weather with. . . (The TV is switched off. An arm protrudes from the chair, and reaches for the phone, picking up the receiver, and dialling a familiar number.)

KILLER#2: Hello, could you fax me through another list. The year? 1964...(blackout. This is meant to be scary in the "Oh-no-Scully-will-get-attacked" way, and then this is swiftly followed by: "But-Mulder-will-be-there-to-save-her-so-that's-even-better!". Do you get the idea. In case all of this is lost on you, Scully was born on the 23rd February, 1964. So there you go.)

Scene Seven: (Scully is at Maggie's house, like she said. They are both in the kitchen.)

SCULLY: Are you sure it's no trouble having me here?

MAGGIE: No, I'm glad of the company.

SCULLY: I may as well make myself useful. Do you need any shopping, or anything?

MAGGIE: Actually, yes. (She hands her a list) Here.

SCULLY: I'll be back later. (she goes, leaving all her FBI stuff on a coffee table. Maggie examines it uneasily, then shrugs.)

KILLER#2: Would you mind telling me exactly what you are doing.

SCULLY: I'm an FBI agent, and you're a criminal. Those two don't mix.

KILLER#2: You wanna show me some ID? (Scully briefly shows her drivers license.)

SCULLY: Unless you want to be shot, I suggest you tell me who you are.

KILLER#2: My name's George Bennett.

SCULLY: Fine. Drop your weapon. (the killer does)

BENNETT: There. You know, Miss. Scully, I know where you live.

SCULLY: No you don't. You're just trying to scare me. (she looks around in annoyance at the gormless crowd!) Would somebdy mind calling the cops! (at which point, a police car arrives. Scully cautiously picks up the weapon, and puts it in a clean plastic bag.) I'll leave this to the police. (She hands the gun to a policeman, then gets back into the car.)

Scene Eight: (At Maggie's, 12 hours later, Mulder knocks on the front door. Maggie answers the door.)

MULDER: Hello, Mrs. Scully. Is Dana there?

MAGGIE: She is.

MULDER: Could I speak to her? If she's not trying to kill me again.

MAGGIE: Sure, come in. But try not to annoy her, or I'll never hear the end of it. (Mulder enters, and Maggie closes the door after him. She calls into the kitchen.) Dana, your partner is here!

SCULLY: (sarcastically) Great. (she pours another cup of tea to add to the present two, grabs some digestive biscuits and goes into the lounge, where Mulder is sitting on the sofa. She hands Maggie one cup, and places Mulder's on the table with the biccies, then sits opposite him, with an annoyed air.) Yes?

MULDER: I guess you know there was another attempted murder today.

SCULLY: I was there. Get to the point.

MULDER: Well, all the previous murders have followed a pattern - all the victims were born in 1966. But the latest victim was born in 1964.

SCULLY: And. . . ?

MULDER: And the police found this at the crime scene: (he hands her a piece of paper - the same one which was apparently faxed in Scene Six.)

SCULLY: (looking blankly at the paper.) Yeah?

MULDER: Firstly, this explains the killer's 'mode-of-prey'. Secondly, this list is of people born in 1964, and they appear to be going in ascending order - of dates of birth.

SCULLY: So?

MULDER: So, you were born in February, 1964. There are only 12 names, and the list has randomly selected birthdays. The last victim was born on 15th January, 1964. The next birthday is 23rd February, 1964. And if I'm correct, I believe that's your birthday.

SCULLY: So you get the sneaky suspicion that I am next, right? Is my name actually on the list?

MULDER: No, but the killer's stopped working in separate counties - he's only working in Baltimore, which is where you are right now.

SCULLY: Next. Sure. (there is a long pause, while Scully looks hard at Mulder, handing him back the piece of paper.) Mulder, I came here to get away from you and your insane theories. What do I find but you turning up and saying my life is threatened. (Mulder looks quite hurt. Oh, what a shame! Not.) But since you came all the way up here so late, and I appreciate your concern, as always, I'll go with you.

MAGGIE: Dana, honey, are you sure? (before you read on, make you really know who said that line!)

SCULLY: I'm fine, mom. Really. This case needs to be solved, and there's only two agents clever enough to solve it! (Talk about modesty!)

MULDER: I think we're back on the case, partner.

SCULLY: I think you're right, partner. (they do a hi-5, but being Mulder and Scully, instantly revert back from teenagers into FBI agents who are madly in love, and their fingers interlock. Aww. [If it’s any help, see that brilliant episode of ST:VOY named "Resolutions" for an idea of what this might look like!] It appears Maggie now knows about Mulder's proposal. Scully looks at her mom, and Maggie nods slowly, smiling. Scully looks back at Mulder, and they lower their hands. Scully, very casually, lowers her head and adds:) By the way, I've had time to think, and...(A gun-shot across the road interrupts her, and they let go.) ...and maybe I'd better tell you some other time. (They go rushing to the window to check it out. Maggie stands near an armchair, with a very deliberate bullet hole in it, shivering.)

MULDER: It's the shooter. What did I tell you? I think maybe you'd better book into a hotel, Mrs. Scully. (Maggie nods, as Scully looks at Mulder with a look which is a cross between "You-were-right" and "I-feel-sick-I've-just-been-shot-at-and-could-have-been-killed-again".)

Scene Nine: (A caption reads: "8 MONTHS LATER", on black. [See the "Tooms" video for an idea of this!] Mulder and Scully are on a plane, for once, they are sitting together, Scully in a window seat, like Max Fenig was, but on the opposite side of the aisle.)

SCULLY: Why won't you tell me where we're going?

MULDER: You'll find out.

SCULLY: But the killer's imprisoned - he's going to the chair in 3 days. If the case is solved, where are we going? It can't be too important.

MULDER: Oh, it's important . You'll find out soon enough, I promise.

SCULLY: I am not a very patient person, Mulder. How soon?

MULDER: Soon enough. (a stewardess appears with two lunch-trays.)

SCULLY: (after a pause) Just tell me where we're going.

MULDER: No.

SCULLY: Please!

MULDER: No!

SCULLY: (tries not to smile, but doesn't succeed.) Just tell me.

MULDER: You win. (he goes very close and whispers something in her ear. From the expression on her face we can only imagine, not that we'd want to, what he's told her. Mulder casually leans back in his seat. Scully has a look of mock shock on her face.)

SCULLY: Mulder?

MULDER: Yeah?

SCULLY: You cannot be serious.

MULDER: Since when have I ever been serious?

SCULLY: Thank God. For a moment then, I thought you'd really take me to. . .

MULDER: I don't think the entire plane load of people would appreciate the joke. (pause) So, do you still want to know where we're going? (expecting her to say "No"!)

SCULLY: Yes.

MULDER: Tough. (Blackout)

Scene Ten: (Mulder and Scully walk along a dark street. "JULY 3RD, 8:24PM" Mulder is beginning to get sick of Scully always asking where they are.)

MULDER: Stop here! If you really want to know where you are, here's your first hint. (he stops a cab - a YELLOW NEW YORK cab.)

SCULLY: It's a cab.

MULDER: So, what colour is it?

SCULLY: Yellow, so what? Aren't all cabs yellow - I never really noticed. (In truth I don’t actually know if all cabs are yellow or not! Let’s just assume they are, for argument’s sake!)

MULDER: Work it out. (the cabbie is getting bored - he's a BRUMMIE, just like the REAL Frank Skinner.)

CABBIE: Oi, you two. 'Urry up, and get into the cab.

MULDER: OK, OK. Come on, Scully, get in. (she gets in and sits on the right.. Mulder also gets in and sits on the left [obviously!]. The cabbie drives off at top speed, and Mulder and Scully are forced back into their seats.)

SCULLY: Mulder, I never thought I'd meet anybody who could drive worse than you. (Mulder checks his watch.)

MULDER: Hey you - cabbie!

CABBIE: Wot?

MULDER: How fast can an average taxi cab go?

CABBIE: As fast as the customer wants, actually!

MULDER: Can you double the current speed? (What the… where the Hell did THIS line materialize from. I thought I’d given up on weird un-Mulder-esque phrases in "Coincidence"! Ne’er mind, eh. Do continue!)

SCULLY: Mulder, you're totally insane.

CABBIE: Yes he is. We're already doing fifty. Who are you trying to impress? Your girlfriend?

MULDER: We're both FBI agents, for your information. (he makes sure Scully can't hear.) And we've got a meeting at the New York Hotel in about 10 minutes, so if you don't hurry, we'll be very late. (the overly enthusiastic cabbie slams down the accelerator, the car zooms forward, and Mulder and Scully are forced even further back into their seats. The cabbie, in true Brum style, starts up a conversation.)

CABBIE: You would not believe the people this thing has carried. (Mulder and Scully exchange "Oh-no" glances.) The President, Mr. Clinton! Meatloaf, and that British lot, Oasis! They nearly trashed me cab, and all because I couldn't get them to a gig fast enough. They were doing a tour. Talking of which, I could give a high-speed tour, if you want. Now, if you look to your left, you'll see...(prepare for an "on-and-on-and-on-and-ariston" sequence. [Oops, I think I just breached copyright again!] Fade in/fade out. Cabbie is still talking, Scully is asleep; Fade in/fade out. Scully is still asleep, with her head on Mulder's shoulder, like in "Pusher", the Cabbie is still talking.) Now on your left again, the famous... (Another fade in/out. Cabbie finishes tour talk, Scully is asleep with her head on Mulder's shoulder, now with Mulder also asleep. Both are facing left.) If you would be so good as to look behind you, you will notice that my picture is on a poster, since I recently won "The Most Informative Taxi Driver" award…. (Final fade in/out – the agents still asleep – Scully resting her head on Mulder’s shoulder, and he resting his head on her head – try to visualise this, please. At this point the Cabbie slams down hard on the brakes, sending Mulder and Scully lurching forwards.) We're there.

SCULLY: (tiredly) Where?

MULDER: Patience. (to Cabbie:) How much?

CABBIE: Well, you made me wait. Then with the additional cost of the tour, that should round up to about...

MULDER: (shoves $20 into his hand.) Keep the change. (They exit the cab, as the Cabbie checks to see if the money is real in numerous never-before-seen ways! Scully tries to find a sign or something, so she can see where in the world she is. Mulder pushes her ahead, while she protests, and they enter the tall building. It isn't dark. In fact, it's very light, and is obviously a hotel reception. A very expensive hotel reception! Mulder books them in, and urges Scully onwards, into the lift. They reach the seventh floor, Scully obviously having relived her little tumble from "GITM"! They proceed down a doored corridor. Mulder stops by two doors - numbers 730 and 731. [Does the latter ring a bell?] Mulder gives Scully the 731 key, and she unlocks the door. She doesn't enter. She stops, and looks at Mulder. It's about 9:30)

SCULLY: Mulder?

MULDER: Yeah?

SCULLY: There is no meeting, is there?

MULDER: No. (pause.) You heard?

SCULLY: (she nods.) Mulder?

MULDER: Yes?

SCULLY: Why are we here?

MULDER: You'll find out. (Scully gives him a "whatever-you-want-you're-not-going-to-get-it" look. Pause.)

SCULLY: Mulder?

MULDER: What?

SCULLY: Where the heck are we?

MULDER: My last clue is: go to a window. See you tomorrow. (he is about to enter, but:)

SCULLY: Mulder?

MULDER: (slightly annoyed.) Yes?

SCULLY: (smiling) Nothing. I just like annoying you. (God, I love that scene! It’s just so funny, isn’t it – you have to admit, though, don’t you! I’m so vain! Mulder enters his room, knowing what to expect inside. Scully also enters, and is pleasantly surprised. Her luggage has been delivered to the room, and is placed neatly in the corner. The room itself is large, and Scully goes to the balcony, opening two large walk-through windows. She stands on the balcony. Mulder is already on his balcony, staring ahead at the incredibly interesting skyline - lots of lights from cars, buildings, etc. A classic New York skyline, basically! [It's actually the skyline from "The Erlenmeyer Flask" - the view from the road where DT is shot!] Finally he speaks:)

MULDER: What light from yonder window breaks...

SCULLY: I never knew...

SCULLY: ...you appreciated Shakespeare. And "Romeo and Juliet", no less.

MULDER: Do you know where you are yet?

SCULLY: No. I give up.

MULDER: I just gave you the biggest clue of the day! Look to the East. (Scully looks to her right. Across the sea [or "Beyond The Sea"!] is the Statue Of Liberty. She turns back to Mulder.)

SCULLY: So, where are we? (a slightly more successful deadpan delivery than her numerous other attempts! Mulder smiles at her.)

MULDER: I'll see you tomorrow at eight. (He shuts the balcony door. Scully goes back into her room, shutting the door. Blackout.)

Scene Eleven: ("10:30pm, July 4th" Mulder is sitting at a table in the New York Hotel's Restaurant. He's been there for ten minutes. Scully is, as always, bang on time. She sits down.)

SCULLY: So, how much did all this cost? You've taken me around nearly every sight in New York.

MULDER: It can't have been every sight!

SCULLY: OK, first you insisted to take me up the Statue of Liberty, then you managed to find front row seats for "CATS", "Phantom of the Opera" and "Sunset Boulevard", all of which were amazing. Were you having a Lloyd Webber phase? (He smiles! Spot the ‘my-obsessions’ link) You even took me ice-skating.

MULDER: (Looks down at the table.) Um… yeeeeees.

SCULLY: Look, I’m sorry about that! I did tell you I had no sense of balance! (We can SO not imagine this actually being true – that’s what makes the rest of this bit so much fun. Basically, she’s INTENTIONALLY trying to … well , you’ll see!)

MULDER: No sense of balance? You have no sense of direction, no orientation and the slowest reaction time of everybody I know. And considering that I only REALLY know The Lone Gunmen and AD Skinner…

SCULLY: What exactly are you implying?

MULDER: You know how you’re meant to call out BEFORE you realise you’re going to crash into a person?

SCULLY: Yeah.

MULDER: Let’s try that next time.

SCULLY: (Trying not to laugh!) I said I was sorry. (We get images of our favourite agents crashing into each other on the ice – Jenn, just imagine yourself and Crystal before you nearly got your face sliced in half!) You didn’t break anything, did you?! We’re both alive and unharmed. Relatively.

MULDER: That’s more than we can say for the assistant we hit on the way down. (Can’t you just SO tell where this is leading! This is what she was intentionally trying to do, by the way, in case you hadn’t guessed! So much for an innuendo-less episode! Damn these gaps between series! Damn my hormones!)

SCULLY: He was only bruised!

MULDER: In twelve places!

SCULLY: You counted? (Long embarrassing pause. Tell you what – how about we show flashbacks of the scene in question – the skating, the crash and the crumpled heap on the ice – just for effect and to liven it up a bit!) OK, let us never speak of it again, unless we desperately need a mood-lightening anecdote. Anyway, going back to my original point – all of this must have cost a fair bit

MULDER: You don't want to know.

SCULLY: I do.

MULDER: No, really, you don't want to know. (she takes the hint)

SCULLY: Anyway, it's very nice.

MULDER: Better than... (he takes one of Rob's business cards from his jacket pocket, and reads it.) ...Food Paradise? (this was the only tacky name I could think of, and it sounds like the kind of place Rob might own! Remember, we never did find out what he actually DID for a living, so I reckon restaurant owner fits him quite well.)

SCULLY: (she takes the card and rips it up.) Light years better. (she examines a menu) And much cheaper.

MULDER: Actually, those are only the prices for people who aren't using the hotel as well, so we don't have to pay for it.

SCULLY: In English please?

MULDER: (Impatient sigh.) If you’re staying in the hotel, the food is complimentary.

SCULLY: Thank you. That makes it even better. How do they keep the place so nice?

MULDER: People tend to use the restaurant anyway because the food is really THAT good, and I think it's a family run business, so they don't pay any extra workers.

SCULLY: (she looks around at the many waiters rushing around.) Big family.

MULDER: I remember one of the first places we went to - the place where I met Deep Throat. What was that place called?

SCULLY: I don't know, but knowing our luck it probably never existed anyway!

MULDER: I didn't think you believed in invisibility, Scully.

SCULLY: Things change, Mulder. (a waiter arrives and takes their orders.) I think we got the wrong rooms. Here: (she hands him a bag of sunflower seeds. He takes them. A different waiter arrives to see if they're being served. It's Manuel [Andrew Sachs] from "Fawlty Towers"! Or at least, someone who looks and behaves a lot like him! He sees the sunflower seeds and gets confused)

MANUEL: Why you have seeds? You like seeds? You must like seeds! You want more? OK, I get you more! Where can Manuel get more seeds? (he strokes his chin thoughtfully) I know: (he shouts very loud, so the entire restaurant turns around to look at Mulder and Scully, who smile nervously and pretend he isn't there.) HEY, YOU! Chef guy! (The chef looks up and frowns, placing his hands on his hips and wielding a very large metal spoon!) More seeds coming. Goodbye! (he runs back to the kitchen, almost knocking over another waiter.)

SCULLY: Did you...? (she indicates Manuel, who is being whacked by the chef in the kitchen, doing that famous "smack on head" scene, who bears an uncanny resemblance to Basil Fawlty! [John Cleese.] Neither Mulder nor Scully seem to have noticed the two similarities!!!)

MULDER: He's nothing to do with me. (Scully doesn't believe him - there's a surprise!!)

SCULLY: The long lost cousin twelve times removed?! (They both laugh. BOTH laugh? Weirdness, as Frohike would say. Notice the relevance of twelve? Only twelve episodes of "Fawlty Towers" ever made. There you go – now you know! Blackout.)

SCULLY: What's your most memorable case?

MULDER: Why?

SCULLY: Well, since we've officially solved our last case, I just thought I'd ask what your favourite one was.

MULDER: I think...the one when I was regressed into a past life. That was very interesting. What about you?

SCULLY: I really hated the one with the death fetishist.

MULDER: I remember that one. One of the numerous times when I've saved your life, wasn't it?

SCULLY: I recall saving your life several times.

MULDER: And attempted to take it once, too.

SCULLY: Double the amount for you. Remember Modell?

MULDER: All too well, unfortunately. (A waiter arrives to take their empty trays. Mulder gives him a tip) Thank you.

SCULLY: Besides, I never tried to kill you. I was merely stopping you from killing Krycek, as I believe I explained at the time.

MULDER: I know, and all of my attempts to kill you were just sort of psychotic rages. If you get my meaning.

SCULLY: I never asked - how exactly did you manage to set fire to your apartment?

MULDER: It wasn't my fault. Not directly anyway.

SCULLY: So, it's only indirectly your fault? Whose fault was it, directly, then?

MULDER: Phoebe's. (BIG MISTAKE! Her attitude takes on a sudden change, as her mood obviously blackens and she gets edgy and rather tetchy. I’m actually considering using Diana Fowley rather than Phoebe, since she’s a lot more present in their relationship now. What do you reckon? But then, of course, the whole 'setting-fire-to-the-apartment' thing wouldn't actually work - I suppose she could use a lighter in some sort of jealous rage!)

SCULLY: Phoebe Green? Are we talking about the same Phoebe Green who came all the way over from London to visit you all those years ago, just out of the goodness of her heart?

MULDER: Well…

SCULLY: Phoebe was at your apartment. (Mulder is in the spotlight and in BIG trouble. But, she tries to stay calmish.) When?

MULDER: When you were with Rob. I felt like I needed some company.

SCULLY: (the annoyance is growing.) You invited her?

MULDER: No, I... She turned up and forced her way in. It turns out she possessed a new gift of the pyrokinetic nature. I saw the news bulletin, assumed you could be hurt or dead, and rushed over to the restaurant immediately. It was all her fault.

SCULLY: So, you still let her in!

MULDER: I was lonely - I'd just been ditched.

SCULLY: Oh, so now it's all my fault!

MULDER: No..

SCULLY: (with a menacing calm, rather Janeway-ish. There – that’s the other and only "ST:VOY" link!) OK, it’s my fault, I accept that. Maybe you’d rather I weren’t here. (She gets up and leaves, swiftly followed by Mulder. Various waiters and guests look nosily in the general direction of the argument. Mulder has told some of the waiters what he's planning on doing, and it isn't going as he’s hoped. The Head Waiter has a worried look on his face, especially as Mulder has just dropped the ring without realising. The waiter picks it up, and watches them and works at the same time.)

MULDER: I didn't say that. (Scully already is out on the balcony. Mulder joins her. Prepare for the FINALE. . . . . . . . . . . . . . .)

Scene Twelve: (Scene 12, eh? Wow, this is a longy! I thought the finale deserved a scene all of its own, but I warn you that this is one of those very long scenes, which look incredibly daunting, but you just need to read!!! [Because it's vital to the plot and I bet you wanna know her answer!!] Scully is standing by the railings on the balcony. Mulder approaches her. She moves closer to the railings, and looks over the sea at the Statue. [We've already had the "Beyond The Sea" joke!] It's July 4th, Independence Day, which is ironic, considering the plot of the episode! It's 11:21pm [groan!]. Mulder places his hand on Scully's shoulder, but she shrugs him off; he looks hurt, and goes to stand by the railings with her. As he goes to apologise, she interrupts.)

SCULLY: Don't try to apologise, Mulder. I'm sick of your apologies.

MULDER: I know. Sorry. (He realises his obvious mistake as she glowers at him. He attempts to get to the bottom of a problem.) Why does Phoebe always manage to crop up lately?

SCULLY: Do we have to bring her into this?

MULDER: No, but I just need some kind of reason why you can't stand her name mentioned in any conversation we have.

SCULLY: (Pause for her thoughtful expression mixed with a reluctance to tell him. She’s still a bit peed off with him, but seems to have calmed down a little for the moment.) The same reason that you loathe it when I do my own thing instead of obeying you all the time. The same reason you can’t stand it when I have a friend other than you, especially the way you acted at that wedding! Jealously, pure and simple. (He says nothing so she takes the opportunity to keep ranting on.) I can’t believe you haven’t noticed, after all this time, when I feel like that! I would have thought it was obvious! (He still isn’t saying anything. She gets a little worried.) Mulder?

MULDER: (he seems to find the concept quite amusing.) You were jealous? The whole time you were jealous of Phoebe?

SCULLY: Not just of Phoebe. I can think of at least three others to mention. I'm sure you can remember them. Believe it or not, it's quite a natural trait. Think about you and Rob yesterday. I've never been so embarrassed in my life.

MULDER: Oh, come on, Scully. You've ditched me many a time.

SCULLY: Not as many times as you've ditched me. Besides, you deserved it that time! You were behaving like a twelve-year-old. Rob and I are friends, in fact, we’re not even that close – we’ve met twice, maybe three times, and now we’ll probably never meet again!

MULDER: But you’re glad of that! (With absolutely no hesitation she replies:)

SCULLY: That is beside the point, Mulder! I do not want to finish this argument. I'll let you have the honours of that one. (Scully is being stubborn, so Mulder thinks carefully before replying. The best he can come up with is:)

MULDER: OK. Now we're over Phoebe and Co. What's next? Do I get an answer?

SCULLY: (almost desperately:) Will you never give up?

MULDER: No.

SCULLY: Silly question, really. (Typical July weather - rain. Which means all the fireworks displays on Liberty Island are going to be a total flop. The rain is only slight.) And to top it off the rain.

MULDER: (He chants quietly, almost in a trancelike state.) Through rain and snow and sleet and hail...

SCULLY: Sums us up, doesn't it. We've been rained on, snowed on, even toaded on, but I don't recall any hail. (As if on cue, the rain turns to hail for about two seconds, then turns back into rain again. If you want it could be the same hail from "Rain King", which I’m sure you remember and it seems quite apt, really.) How did you do that?

MULDER: Do what?

SCULLY: That. (She indicates the sky with her head) Whenever I'm with you weird stuff happens. (Oops. Now she's really put her foot in it!)

MULDER: Weird stuff? All the cases we've solved over 6... no… 7 years, you naïvely call 'weird stuff'?

SCULLY: What's wrong with that. It's hardly been normal. That goes for both of us.

MULDER: I know it hasn't been normal, but that's no need to make fun of it...

SCULLY: I wasn't...

MULDER: I thought you were different, Scully. Whenever Skinner's cronies laughed at me, I just shrugged it off. I thought you could too. (he walks away from the railings.)

SCULLY: (she turns around to face him. She's obviously very tetchy.) You thought I liked being called "Mrs. Spooky" for a year by Tom Colton? You think I enjoyed the strange glances, the whispers, the jokes? Now, whenever I come up with a theory even slightly unscientific, the comment is always "that sounds like something agent Mulder would say!". I hate being compared to you Mulder. I like being my own person. We’re total opposites and people always compare us. Frankly, it’s annoying! (Does the phrase "Opposites attract" spring to your mind here?)

MULDER: But, Scully, we're partners. (pause. She looks more than a tad annoyed, but this remark seems to calm her down - she looks at the floor. A little warning - their character traits just fly very swiftly out of the nearest window at this point. Sorry. Seeing her weaken at the remark, he persists with his little speech) Part of being partners is being able to work together, opposites or not. It's hardly been nice for me, has it? I've had the jokes since Quantico. After a while, I just ignored them. I mean, we’ve been working together seven years and so far we’ve not really had that many arguments, definitely not as many as people might have thought. Through everything we stuck together and now you’re complaining about it? Seven years of being partners, friends even... doesn't that mean anything to you? (You have GOT to pay attention here, Jenn, or the whole scene will make no sense!!!! Scully looks up at him and walks towards him slightly. No matter how much it tries to seep in, "The Sound Of Music" proposal/acceptance scene is NOT going to get in here! Besides, 'Anderson' sounds nothing like 'Andrews', does it?!)

SCULLY: Of course it does. (Ha! Oops, maybe the above was a bad place to put that comment!)

MULDER: I'll ask you one more time. Yes, or no.

SCULLY: (behind her, a flash of lightning.) No. (Heaven wants them to get together as much as we do [and as Vickie seems to be omnipotent half of the time, she can be God! I doubt she knows what that means, though! In fact, since this is my mind, and Richard O'Brien is definitely omnipotent, HE is GOD! In fact, why don't we cast him as the Head Waiter, to add a little twist to the tale and get a great camp following at the same time!], replying with a crash of thunder, startling her, and sending her running to Mulder's arms. He catches her and holds her.)

MULDER: Please. (The Head Waiter is standing patiently in the doorway. BEWARE!!!! The tackiness begins here! Mulder gestures to him, and he gives a thumbs up to somebody inside. Music starts seeping out of some speakers, and the Head Waiter [RO'B!] goes inside. Some of the guests look curiously out of windows, until their friends/companions tell them off. We know the song. So does Scully. It's "Beyond The Sea", which, as you know, was playing when Bill Scully's ship came in and he proposed to Maggie. This little detail is small, but nevertheless, it’s touching and she hugs him back. [That took longer than usual!!!])

SCULLY:(with mock annoyance) Mulder.

MULDER: Yes?

SCULLY: How did you know?

MULDER: Let's just say, I have connections. (She doesn’t believe this for a second.)

SCULLY: With who?

MULDER: All right... let's just say… I know you too well to let that one slip past me. Now I need your answer. (She looks thoughtful, and takes a deep breath before starting to speak. Here's where the tension builds. Add as many long, nasty pauses as you like, it adds to the great atmos - like the Hallway Scene!)

SCULLY: My mom says...well, you know what my mom says about the whole thing.

MULDER: Your mother…. (she stops him from stating the obvious)

SCULLY: But I know it's up to me. She's so worried that the cancer will take over my life. I guess I ought to decide. (We'll just have to pretend that this is somewhere in between "Memento Mori" and "Redux"/"Redux II"! If only!)

MULDER: And your answer is...

SCULLY: (desperately:) I don't know. (She lets go of him, but he doesn’t get it. So she knocks his arms from around her, freeing herself from his grasp, almost as if to escape from the clutches of a maniac, then looks around at her surroundings for another time. He's gone to a lot of trouble to win her over. Or, in 19th century dialogue, to woo her. ["F-R-I-E-N-D-S" moment!] The song playing is a little bit of a shock as well. She looks back at him, trying to avoid eye-contact.)

MULDER: I just want your answer. I promise this is the last time I ask.

SCULLY: (pause) I've got nothing to lose by it.

MULDER: I know.

SCULLY: But you have. If anything happens to me, it'll all be in vain. You and I both know that.

MULDER: IF anything happens to you. I. F. If. (by the way, there's a [love] song called "If...", and there's also one called "If I Loved You", as sung by Michael Crawford, which is really nice as well!) Skinner told me today that Cancer Man is giving up. He knows how to save you. It's just a matter of getting him to reveal what he knows.

SCULLY: Do you think this would persuade him? Is that why you're doing this? Is it all just so you can get a cure for something that you and I both know is inoperable?

MULDER: No.

SCULLY: Because, if it is, Mulder, it seems like a very stupid thing to do. (He says nothing.) Listen. Don’t do this. It’s wrong. It’s also really unfair to both of us, especially me… (Mulder intervenes before she gets all worked up again.)

MULDER: NO. I'm not doing this because I think it’ll foil him. I KNOW it will. But I’m doing this because. . .(Ooh that stutter really kicks in at the most inopportune times!) because. . . I lo... (She interrupts him - it's all too much to take in.)

SCULLY: Stop! Don't say it. I don't want to hear it right now. But if this is just some overacted plot to get the Truth, you know I'd never forgive you...

MULDER: Why do you doubt me so much?

SCULLY: I don't doubt you. I doubt him. He'll never give in.

MULDER: I'm not so sure. So far he's killed me three times and you twice, and that didn't stop me...us from searching for the truth. (He holds her right arm. Her attempts to avoid eye contact fail miserably. She had the knack in Season One. By Season Four, she'd lost it completely.) He's realised that nothing will hold us back. Not even your illness. Now he knows we'll never stop searching, he's given up.

SCULLY: If that's true, and your feelings for me are true...

MULDER: Dana, why are you so sceptical of that? You know I...I...

SCULLY: Stop it. I believe you. I believed you the first time. (Ie - the bit on the ice - in the movie, and it is NOT all in my head, thank you so very much, madam! It IS there and it IS audible if you know what you're looking for! [If you still don’t believe me, just stick with the one from "Triangle", which you have to have heard, really!!!] With her left hand she tidies a stray bit of his hair, by now soaked by the downpour. Aww.)

MULDER: You did? (she nods) Why didn’t you say anything?

SCULLY: I guess… I didn’t want to believe it. I couldn’t believe it.

MULDER: Why?

SCULLY: Because of our careers, because I thought I imagined it, because I thought you didn’t mean it – the list could fill a book.

MULDER: Are those the only reasons?

SCULLY: No…. I did believe you, but what with Fowley and… (when she tells him she believes him the relief is obvious, but the Fowley remark makes him look at her as if to say: ‘Duh.’)

MULDER: Diana… Fowley… is in the past. The present isn’t going too well at the moment, and what I’d like to sort out right now is some hope of any kind of a future. Is that too much to ask?. (Ooh, isn’t the tension killing you. It’s killing me and I wrote the sodding thing! She opens her mouth to say something which looks like "I don’t know…") Well, I promised I wouldn't ask again, and I'll keep that promise, but I need to know the answer to another question, and I need to know the truth. (There is a pause as he prepares his other question, which is probably more important to the viewers than to them!)

SCULLY: Go on.

MULDER: Promise me you’ll tell the truth.

SCULLY: You know I’d never lie to you. (His expression says "Well-actually….-oh-never-mind-I’ll-ask-you-anyway", and he continues after a deep breath. This is actually the biggest porky she’s ever told him, but there you go!)

MULDER: Do you feel the same? (She is shocked by this to say the least. Eventually...) I just have to know.

SCULLY: (By the look on his face:) This is really important to you isn’t it?

MULDER: It is. I don’t care what you say, as long as you mean it. No matter what your answer, I swear I’ll forget about it and stop this. (This is like Niles all over again - but before it was on. Great, now I can predict "Frasier" as well as TXF!!) So... do you...?

SCULLY: (very long pause. They both stand there wet from the never-ceasing rain - see "Pilot". Scully looks down, dropping her head. She nods, slowly. Mulder nods as well, as if he knew all along, lets go of her arm, and walks away, leaving her there, rather heartlessly, to catch pneumonia. The restaurant nosy-people look slightly annoyed, upset and "Aww"-y at the same time. Mulder gets a quarter of the way to the door, when Scully realises what she's letting slip away. [What?] You now have my permission to be a restaurant nosy-person - "Awwww!") Mulder?

MULDER: (he pauses, gives a brief smile of relief and almost triumph, quickly drops it, then turns around. Scully walks to him.) Yes? (Scully looks at him, straight in the eyes. Wow, we think. She's serious! And, she doesn't do the Captain Janeway trick of moving her eyes to look around the person. [To be honest, I think Chakotay is getting a little pissed off with it! He seems to be able to manage to look straight ahead with no problem! Only one incident, and that doesn't count - in "Resolutions!" Sorry, Voyager had to get in there somewhere!] Back to the plot...) YES? (She still can't quite bring herself to say it. Mulder is being very patient with her - I mean, he's been waiting since November for the answer! Scully ponders her next words, then:)

SCULLY: Like I said, I've got nothing to lose. And if what you say Skinner told you is true, then neither have you. (She pretends to examine her fingernails, as if in a nervous gesture. Mulder tries not to smile.) You'll find what you’re looking for. I know you will. And I'll help you for as long as I can. (Mulder looks weirdly sceptical of her sudden change of heart.)

MULDER: Can I just get one thing straight before you say anything else?

SCULLY: What?

MULDER: You swear that you’re telling me the truth?

SCULLY: (Looks thoughtful while thinking of her answer.) I know we’ve often not told each other things. I regret that. I’m sure you do, too. But this is one thing that I would NEVER lie to you about. You have to believe me on this one. I hope that’s enough that you know.

MULDER: It’ll do! (He has a strangely impatient expression on his face, so Scully puts him out of his misery.)

SCULLY: You know, I think you can finally give me that present... (Mulder reaches in his jacket pocket for the ring. It's not there! Aaaaaaargh!)

MULDER: One second! (Scully has just given him the biggest chance he'll ever get, and now he's lost the ring. [The biggest chance for what?!] Wait, for all is not in vain! The waiter alerts him, throws the ring the required short distance, and Mulder catches it. He puts the ring on Scully's still outstretched finger [from when she was examining her nails, duh! It was a little ploy! Keep with it, dear, you know how her mind works sometimes!] Then the rain stops instantly. They indulge in a Very Big Hug [sounds like a new brand of teddy bear! It also sounds like something off the dreaded Tellytubbies - BIIIIIG HUUUUUUUG! - or worse, Barney!!!!!]. The fireworks start on Liberty Island. Mulder, in a spontaneous action, picks Scully up in a "Coincidence" catch, and they spin around once, although I have no idea why - I just thought this might be interesting - and puts her down again.. Then there is a VERY Ross&Rachel moment, as they pause, gaze for about two seconds, both thinking the same thing at the same time, and provide the viewers with what they've been waiting for since day one. I think you can guess! HOORAY!!!!! The people in the restaurant, all looking out of every available window, applaud wildly and cheer. Manuel utters something almost inaudible which sounds like: "That eez a-beautiful", and snivels. The Head Chef [RO'B] weeps loudly into a large flowery hankie - very camp if I say so myself, and I wouldn't put it past him to add that to the script anyway! Scully smiles one of those special smiles, which we don't see very often! [One of those smiles which doesn't make her face crumple weirdly, like in "Home". I'm determined to find the episode/s with 'the' smile! OK, engage photographic memory. . . . trying to find an episode where that look has been used on Mulder. This is very difficult. GOTTIT: "The List", "Detour", "Post-Modern Prometheus", "The End" and a new one from Season 6 called "Dreamland Part 1" of which I do not have the second half! Cool, there's five!. Now you've got to find the scenes for those looks in those episodes!] The fireworks finally stop and the storm instantly reappears. Mulder puts Scully down and they hug for an eternity. Or, if you prefer, they could 'finish-the-Hallway-Scene' properly! Whatever, I don't mind which you choose. Learn to use your imagination! Blackout......)

(Look! No cliff-hanger! This really has NO CLIFF-HANGER! But, there's still another episode to go, so don't fall asleep yet! I hope this is what you were expecting, but if it isn't then the very insignificant element of surprise has worked to it's full glory! Never accuse me of giving you a straight answer to anything. Don't worry! The next episode still calls them 'Mulder' and 'Scully', not 'Fox' and 'Dana'! That would be just too weird!)