169 fans | Vote

#906 : Ne Faites Confiance à Personne

¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤

Scully découvre que Mulder lui a transmis un message via internet. Il y exprime son désir de la revoir. Plus tard, Doggett et Reyes l'informent que quelqu'un, en possession d'informations concernant le programme des "Supers Soldats" a tenté d'entrer en contact avec Mulder, le seul qui serait, selon cette source, capable de découvrir la vérité...

¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤

Popularité


4.33 - 3 votes

Titre VO
Trust No 1

Titre VF
Ne Faites Confiance à Personne

Première diffusion
06.01.2002

Première diffusion en France
02.10.2002

Vidéos

Trust No 1 - Trailer (VOST)

Trust No 1 - Trailer (VOST)

  

Le Shadow Man est détruit par la magnétite (VO)

Le Shadow Man est détruit par la magnétite (VO)

  

Photos promo

Qui essaye de s'en prendre à William?

Qui essaye de s'en prendre à William?

Scully et l'homme de l'ombre

Scully et l'homme de l'ombre

Scully est surveillée

Scully est surveillée

Plus de détails

Réalisation:
Tony Wharmby

Scénario:
Chris Carter
Frank Spotnitz

Guest stars:
Kathryn Joosten (l'agent Edie Boal)

Terry O'Quinn (l'homme de l'ombre)

James Riker / Travis Riker (William)

Allison Smith (Patti)

Informations classées X :

- la tagline de l'épisode change et devient "They're watching"

- le titre de l'épisode est identique à l'adresse e-mail choisie par Mulder et renvoient tous deux aux derniers mots prononcés par Gorge Profonde à Mulder et Scully en saison 1 : "ne faites confiance à personne"

- Incohérence : l'e-mail envoyé par Mulder à Scully au début de l'épisode est daté du 7 janvier 2002. Or cela est impossible puisque Mulder est enlevé en mai 2000 dans l'épisode Requiem et William naît au tout début de l'année 2001 (cf Essence - partie 2). Il n'a clairement pas l'air d'avoir 1 an dans cet épisode !

L'épisode s'ouvre sur un monologue de Scully son fils dont la question centrale est le mystère de sa conception et de sa naissance. Elle se demande ce qu'elle répondra et pense qu'elle lui dira que tout tient à l'amour. Elle lui souhaite de rencontrer "son autre", quelqu'un qui le protègera autant qu'il le mettra en danger, qui lui offrira la possibilité de s'embarquer pour de belles aventures. La vérité est ailleurs, il ne la trouvera pas dans la science, mais plutôt dans son coeur. Tout ce qu'elle dit est suivit d'images de Mulder et elle. 

Nous retrouvons ensuite Dana, assise devant un ordinateur, dans un cybercafé. Elle vérifie son courrier électronique et trouve un message envoyé par [email protected], adresse derrière laquelle se cache en réalité Fox Mulder. Elle lit le message, qui lui fait monter les larmes aux yeux. Ce message l'a bouleversée, Mulder lui manque. Elle répond à son ancien partenaire puis elle remarque qu'un bébé dans sa poussette a été laissé seul dans le cybercafé. Elle s'apprête à aller prêter main forte à la serveuse qui s'est approchée en voyant que le bébé est seul et pleure. La mère (Patti) revient à cet instant.

A Quantico, Dana imprime le message de Mulder et est rejointe par ses amis du Service des affaires non classées qui viennent pour lui parler de Mulder : un homme cherche à le contacter via le net. Il souhaite l'entretenir de dossiers militaires top secrets concernant les supers-soldats. Il souhaite donner à Mulder la liste des noms de tous ces super-soldats mais ne veut les remettre qu'à lui seul. Scully reconnait que ça ferait avancer les choses mais elle maintient ne pas savoir comment contacter Mulder. Elle se rend dans sa salle de classe où Doggett la suit en insistant sur l'importance de cette affaire : ça pourrait permettre à Mulder de revenir parmi les siens mais Dana argue qu'il est hors de question qu'elle mette sa vie en danger. Doggett lui demande comment elle compte aider Mulder si elle refuse de faire confiance à qui que ce soit, incluant ses proches. En rentrant chez elle à l'issue de sa journée de travail et après avoir récupéré William (probablement chez sa mère), Dana voit Patti se disputer avec son mari et ce dernier partir avec leur bébé. Scully intervient et ramène Patti chez elle pour qu'elle puisse appeler la police et indiquer ce qui vient de se passer mais celle-ci refuse. Dana lui propose alors de passer la nuit chez elle après avoir fait rapidement connaissance et avoir constaté qu'elles avaient toutes les deux des probèmes relatifs à l'absence d'un homme dans leurs vies et celles de leurs enfants. Scully lui confie qu'elle aimerait avoir quelqu'un dans sa vie pour prendre soin de William (il est évident qu'elle parle là de Mulder!). Patti lui dit qu'il va revenir.

Ailleurs, Doggett et Reyes sont en planque après avoir réussi à tracer le numéro qui a téléphoné au FBI ce matin pour demander à entrer en contact avec Mulder. Reyes se demande si poursuivre l'informateur ne desservira pas Mulder sur le long terme car, comme le soulignait Dana, rien ne dit qu'il soit fiable et qu'il dise la vérité. C'est alors qu'il voit une voiture se garer devant le bâtiment et un homme en descendre, il s'agit du mari de Patti. L'homme, qui n'a pas le bébé avec lui, entre dans le bâtiment : Doggett et Reyes profitent de son absence pour aller fouiller sa voiture. A l'intérieur, "Shadow Man" (l'homme qui cherche à joindre Mulder) est rejoint par l'époux de Patti : ils voient alors Doggett et Reyes apparaître sur leurs écrans de surveillance.

Le lendemain matin, Doggett réveille Reyes pour lui montrer que le père de famille quitte le bâtiment. Ils le suivent. En parallèle, chez Scully, Patti se réveille et va voir si Dana dort encore. Voyant que c'est le cas, elle retourne dans le salon et sort William de son berceau. Au même instant, le téléphone de Scully sonne la tirant du sommeil. Elle décroche : c'est Doggett qui l'appelle pour l'informer que l'homme qu'ils suivent est entré dans son immeuble. Mue par un réflexe purement maternel et après avoir entendu un bruit suspect venant de son salon, Scully se lève et s'y rend. Là elle voit Patti avec son fils dans les bras. Elle lui ordonne, sous la menace de son arme, de reposer le bébé. Au même instant, Doggett et Reyes font irruption dans son appartement en compagnie du mari de Patti qui essayait d'entrer par effraction chez l'agent fédéral. Tout le monde est maintenant réuni et le trio fédéral veut des réponses. Patti explique qu'ils cherchent à protéger William parce qu'ils savent que Joy, leur fille, possède des pouvoirs identiques aux siens. Son mari lui intime de garder le silence mais elle lui rappelle que c'est lui qui lui a dit qu'ils pourraient peut-être les aider. Il répond "qu'ils écoutent" et admet tout savoir concernant les super-soldats et les dons étranges des deux enfants. Patti cherche seulement à protéger sa fille et William et son mari et elles pensent que Mulder est le seul qui soit capable de faire éclater la vérité. Tout à coup le téléphone sonne : c'est Shadow Man qui veut voir Scully et lui affirme qu'il sait, contrairement à ses amis, qu'elle peut le contacter puisqu'elle lui a envoyé un e-mail la veille. Elle insiste pour le voir, elle ne lui dira rien par téléphone. Il lui donne rendez-vous au café dans 20 minutes. Reyes s'occupera de William.

Au café, Shadow Man la contacte sur son téléphone et lui demande de suivre scrupuleusement ses instructions. Il lui conseille également de ne pas se départir de son arme et de s'en servir en cas de besoin car, si une tierce partie venait à se mêler de leur affaire, il la laisserait se débrouiller et assurer seule sa défense. Il lui demande de monter dans une voiture qu'il a fait commander pour elle et lui dicte le chemin qu'elle doit suivre. Après quelques heures de route, il lui demande de s'arrêter et d'enfiler les vêtements mis à sa disposition dans le coffre. Il la rejoint et fait exploser le véhicule. Elle s'étonne du fait que les vêtements soient pile à sa taille : il répond qu'elle n'a aucun secret pour lui (il affirme même savoir quelle est la véritable couleur de cheveux de Scully ! tient, elle n'est pas rousse naturellement?) et qu'il sait même qu'elle a invité Mulder à partager son lit un soir où elle se sentait seule ! (c'est précis dis-donc, y a 0 intimité, mais ça confirme que les fans avaient de raison de penser qu'il y a bien eu quelque chose entre Mulder et Scully) Elle demande qui il est : il répond qu'il est le futur. Il l'a appelée parce qu'il sait qu'elle peut contacter Mulder. Mulder doit savoir ce qu'il sait sinon il n'aura aucun futur et plus personne n'en aura. Ceci dit, il lui signale qu'une autre voiture l'attend plus loin. Si Scully n'a pas de contact avec Mulder dans les prochaines 24 heures, ils perdront leur seule chance de découvrir qui est un super-soldat. Elle s'en va.

Le lendemain, Doggett la rejoint à Quantico. Elle laisse ses élèves quelques instants pour discuter avec lui. Il pense savoir pourquoi l'homme n'a pas contacté directement contacté Mulder : c'est parce qu'il sait pertinemment qu'il ne refera surface qu'à la condition que ce soit la seule personne en laquelle il ait confiance, soit Dana, qui le lui demande. Il pense également que Patti et son mari sont de mèche avec cet homme mais elle affirme que non car elle sait qu'ils craignent pour Joy autant qu'elle pour William. Il s'inquiète ensuite de la manière dont Mulder va revenir et elle le rassure en lui assurant qu'ils avaient évoqué, ensemble, ce cas de figure avant qu'il ne parte. Il est trop tard pour faire machine arrière de toute manière : elle a déjà avertit Mulder et il sera là à minuit. Doggett pense qu'elle n'a pas suffisamment réfléchi à ce qui pourrait mal se passer et aux conséquences de son acte. Il pense (avec raison) qu'elle s'est laissée emporter par son envie (je dirais même son besoin!) de le revoir, de la savoir près d'elle et William. Toujours persuadé que quelque chose lui échappe et que les choses vont mal finir, Doggett décide de prendre ses précautions et fait analyser les vêtements donnés par Shadow Man à Dana dans l'espoir d'en découvrir plus sur lui. Lassé d'attendre les résultats, il finit par quitterle FBI et se rend à la gare.

Le soir, à 23h, Scully est à la gare et attend anxieusement l'arrivée de l'homme qu'elle aime. Elle est surveillée par une caméra, sans doute commandée par Shadow Man. Elle voit, du coup de l'oeil, Reyes et la mari de Patti arriver sur les quais. A 23h55, le train entre en gare quand, tout à coup, le père de Joy sort une arme et la pointe en direction de Scully. Au même moment, Shadow Man bouscule les personnes qui attendent sur les quais et pointe également son arme en direction de Dana. Monica, ayant remarqué ce manège, hurle un avertissement à son amie et se rue sur elle et la plaque au sol pour lui éviter d'être tuée. La balle tirée par le Shadow Man attend le père de famille et le tue. Il s'approche ensuite des deux femmes avec l'intention de les tuer mais il est abattu par Doggett qui arrive juste à temps (comme toujours ;=)) dans son dos. Le tueur tombe sur les rails et le train lui roule dessus sans s'arrêter car le contrôleur intime au conducteur de ne pas s'arrêter en dépit des protestations de Scully. Elle retourne auprès de ses amis et ne peut que constater, amère, que rien ne s'est déroulé comme prévu. Peu après, la police arrive sur les lieux mais ne parviennent pas à retrouver le cadavre de Shadow Man. Patti arrive ensuite et jure à Dana que son mari n'avait rien à voir avec ce complot et que rien de tout ceci n'aurait du se produire. Dana la rassure : elle sait que son mari est mort en voulant la protéger. Patti se met à pleurer et Dana la serre contre elle, pleurant aussi, pour la réconforter avant de la laisser partir. Doggett reçoit enfin les résultats d'analyse : rien de bien flagrant mis à part un fort taux de fer dans le sang. Conclusion : Shadow Man n'est pas un homme mais un super-soldat !

Le trio d'agents fédéraux apprend alors qu'un homme a sauté du train en marche : convaincu qu'il s'agit de Mulder, il se lance à sa recherche. A un moment donné, ils se séparent : Reyes et Doggett fouillent la zone à pieds et Dana en voiture. Le duo voit un homme s'enfuir et pense qu'il s'agit de Mulder : ils lui courrent après mais ne le rattrape pas. Scully est celle dont le chemin recroise celui du super-soldat : Doggett avait raison de dire qu'il le pensait encore en vie en dépit de ce qui lui est arrivé. Elle sort du véhicule et le menace avec son arme, ce qui en l'impressionne pas du tout. Elle lui demande pourquoi il veut la tuer. Quelqu'un doit mourir, Mulder ou son fils. Scully ne comprend pas pourquoi il parle de son fils. Elle veut des réponses. Tout au long de leur affrontement verbal, le super-soldat a continué à avancer et l'a forcée à reculer. Arrivée au pied d'une falaise, Scully est acculée. Shadow Man se met alors à trembler et s'écrase tout à coup contre la falaise, comme s'il avait été attiré par elle, comme un morceau de fer avec un aimant. Scully, choquée mais soulagée d'être en vie, s'en va apeurée. 

Peu après, elle retourne au cybercafé et rédige un e-mail à Mulder dans lequel elle lui dit être inquiète pour William et lui parce qu'ils sont en danger à cause des super-soldats. Elle indique malgré tout qu'il existe un moyen de les tuer et qu'elle espère qu'un jour toutes les forces qui oeuvrent contre eux seront anéanties et qu'ils pourront se retrouver. Elle est déterminée à le revoir, à retrouver la sécurité qu'il lui apportait et surtout elle veut vivre à nouveau ces instants de confort qu'ils n'ont que trop brièvement connus. Elle signe : "jusqu'à ce moment, je serai toujours à toi, Dana". Elle se tourne vers son fils qu'elle gratifie d'une caresse sur la joue et d'un sourire.

SCENE 1

Fade In.

During SCULLY's opening voiceover we see a montage of images and scenes from previous seasons and classic MSR (Mulder Scully Romance) episodes. The whole opening teaser is in slow-motion. The classical music playing during this montage of clips is Peter Ilyich Tchaikovsky's "The Seasons: Barcarolle", arranged and performed by Richard Grayson. The teaser gives the impression that MULDER and SCULY have been under surveillance for a long time.

SCULLY: (Voiceover) One day, you'll ask me to speak of a truth - of the miracle of your birth. To explain what is unexplained. And if I falter or fail on this day, know there is an answer, my child, a sacred imperishable truth, but one you may never hope to find alone. Chance meeting your perfect other, your perfect opposite - your protector and endangeror. Chance embarking with this other on the greatest of journeys - - a search for truths fugitive and imponderable. If one day this chance may befall you, my son, do not fail or falter to seize it. The truths are out there. And if one day you should behold a miracle, as I have in you, you will learn the truth is not found in science, or on some unseen plane, but by looking into your own heart. And in that moment you will be blessed - and stricken. For the truest truths are what hold us together, or keep us painfully, desperately apart.

We see a new image of SCULLY's devastated face. She is leaning over a lifeless male body laying on a train platform. The green surveillance footage changes into a real- life colourful image.

SCENE 2

Night. SCULLY is still on the platform, waiting for someone. She is being covertly watched through a surveillance camera. She paces down the platform and checks her watch.

[Fade to black]

SCENE 3
FEDERAL GROUNDS INTERNET CAFE
WASHINGTON, D.C.

Day. SCULLY is pushing WILLIAM in his stroller along a street. She enters the cyber cafe and walks over to the counter, where she orders a drink. The WAITRESS recognises her.

WAITRESS: (from behind a counter) Hey. Tall coffee with milk?

SCULLY: Yes, thanks.

SCULLY: And can I get a warm-up, please?

SCULLY hands the WAITRESS a bottle of baby milk to warm.

Minutes later, SCULLY is sitting in front of a computer and has logged into her mail account. A voice informs her "You have 5 new messages." The screen says "Welcome Dana Scully". The messages listed on the screen are:

Subject From
Lose 25 lbs. in TWO WEEKS - Gauranteed! tracy1893@dieters
Travel Bargains-Airfare Discounts! HotTravelBargains
Tired Of Your Old Job??? Sue185@RRS
Requested Research Link [email protected]
Dearest Dana [email protected]

The camera moves in towards the email from "[email protected]. SCULLY looks happy to see it. She opens it. We see the message on the screen.

E-Mail From: [email protected]
To: [email protected]
Date: 07 Jan 2002

SCULLY: (Voiceover) I've resisted contacting you for reasons I know you continue to appreciate. But, to be honest, some unexpected dimensions of my new life are eating away at any resolve I have left. I'm lonely, Dana, uncertain of my ability to live like this. I want to come home. To you, and to William.

SCULLY looks sad after reading to message to herself. She looks down at WILLIAM, who is sucking on his bottle. We hear another baby cry. SCULLY looks up

A woman, PATTI, enters the cafe, pushing another stroller. She stops at the counter to attend to her baby.

PATTI: Shhh-shhh.

SCULLY starts writing her reply on the computer.

SCULLY: (Voiceover) I am physically shaking right now seeing your words. Wishing it were you speaking them to me. I want so badly to see you too, but you are still not safe here.

SCULLY looks up. The baby's mother is nowhere to be seen. The baby continues to cry. SCULLY gets up and walks over to the stroller. The WAITRESS has also walked over to the baby.

SCULLY: The child's mother, she was just here. Where did she go?

WAITRESS: I think that's her out there.

Through the window, we can see PATTI talking to a MAN ON THE STREET. They seem to be having a heated discussion. She suddenly turns away from him and comes back into the cafe.

PATTI: Excuse me.

She kneels down, tending to her baby.

PATTI: I'm sorry. I'm sorry.

She stands back up. SCULLY smiles at her. The PATTI quickly turns the stroller around and leaves the cafe.

SCENE 4
FBI TRAINING ACADEMY
QUANTICO, VIRGINIA

Day. SCULLY is looking at a print out of the E-Mail from earlier on a piece of paper. She hears doors opening and sees DOGGETT and REYES enter. She quickly hides the piece of paper in a drawer.

DOGGETT: Can we talk to you a second?

REYES: It's about Agent Mulder.

SCULLY: What about Mulder?

DOGGETT: We got a guy contacting us through intelligence channels. He keeps saying he wants to talk to Fox Mulder only he won't say why.

SCULLY: Well, who is he?

REYES: We don't know. He always covers his tracks. But this morning we finally got him to tip his hand. He says he has highly classified military files.

SCULLY: Files on what?

DOGGETT: These bio-engineered soldiers we've all come in contact with. So-called super-soldiers. The same ones threatening Mulder's life, forcing him to live underground.

SCULLY: What does he want with Mulder?

DOGGETT: He wants to give him the names of these super-soldiers, and Mulder's the only person he'll give them to.

Pause

SCULLY: Well, even if this was a good idea I don't know how to contact him.

SCULLY leaves, going into her teaching lab where her FBI class is waiting for her.

SCULLY: (To her class) I'm sorry about that. I believe that last class we were covering petechia and evidence of death by -

DOGGETT: (standing behind SCULLY, interrupting) Agent Scully.

SCULLY and DOGGETT leave the lab. They stop outside the door.

DOGGETT: What the hell are you doing?

SCULLY: I'm trying to teach a class.

DOGGETT: You understand what we're being offered here? If we know who these super-soldiers are we can go after them. This is somebody giving us a way that can make it safe for Mulder to come home.

SCULLY: That's the operative word here - somebody. Somebody that we don't know.

DOGGETT: And you don't want to check it out.

SCULLY: (Insistent) What I don't want is Agent Mulder's life to be endangered any more than it already is.

DOGGETT: How long are you going to do this?

SCULLY: Do what, Agent Doggett?

DOGGETT: Refuse to trust me ... or anybody. How else you going to get him home?

SCULLY looks away before going back into the lab.

SCENE 5

Night. A silver car, license plate 51 - CORI, turns round a corner and stops at the kerb. SCULLY gets out and goes to the rear door to get WILLIAM out of his car seat. She overhears someone in the street. She doesn't recognise her.

PATTI: Leave us alone.

MAN ON THE STREET: I am not going to do this.

PATTI: Get away. Get away from us. Leave us alone.

MAN ON THE STREET: She's coming with me.

PATTI: What are you doing?

SCULLY: (To the WOMAN) Do you need help, ma'am?

PATTI has her back turned to her.

PATTI: No. Don't ...

SCULLY: Hey.

PATTI: Don't take her with you.

MAN ON THE STREET: No. I'm not letting you have her.

SCULLY: Do you need me to call the police?

PATTI: Don't go. Don't go! Please.

SCULLY: Ma'am? Are you all right?

The WOMAN turns and SCULLY sees that it is the woman from the Internet cafe, PATTI.

SCENE 6

Night. SCULLY's apartment. Her front door opens and SCULLY enters, holding WILLIAM in her arms. PATTI follows her in. SCULLY turns some lights on.

SCULLY: Come on in. The phone's over there.

PATTI: I don't know if it's such a good idea. Making out a police report.

SCULLY: Well, you've (pausing) obviously got a problem. I saw you this morning at the cafe. Is he your husband?

PATTI looks upset, and avoids eye contact with SCULLY.

PATTI: Yeah.

SCULLY: It's okay. I understand. I mean ... it's hard enough caring for a child.

PATTI: You don't have anyone, do you?

SCULLY: No. (SCULLY looks down.) But I wish I did.

PATTI: (With a smile) Maybe he'll come back.

SCULLY looks up at PATTI, a beautiful smile on her face.

SCULLY: Do you have anywhere to go?

PATTI: (Shaking her head) No.

SCULLY: I'm going to get you a blanket and something hot to drink, all right?

PATTI: Thank you.

SCULLY: (Extending her hand) My name's Dana.

PATTI: (Smiling back) I'm Patti.

They shake hands.

SCENE 7
BETHESDA, MARYLAND
9:32 PM

Night. DOGGETT is sitting in his car, watching a 3-storey brick building across the street in front of him. REYES' car pulls up behind his. He sees her in his rearview mirror. She gets out of her car and joins DOGGETT in the front seat of his.

REYES: What do you have?

DOGGETT: This source of ours decided to give my cell phone a call tonight. I ran a trace.

REYES: Did you get a number?

DOGGETT: No, but I got a node. A sector of six City blocks. The area's pretty vacant, except for this building here.

REYES: Say this source is for real, and this is Mulder's chance to come home. We spook the spook, and maybe that chance goes away. Or worse, it drives Mulder deeper.

A dark car pulls up in front of the building. A man gets out and opens a door into the building. He enters, checking behind his before he closes the door. We see it is the MAN IN THE STREET from earlier.

REYES: Where are you going?

DOGGETT: Take a little look into his car.

REYES: I'll say it again - what we risk is compromising Mulder's return.

DOGGETT: I don't plan on getting caught.

DOGGETT gets out of the car.

SCENE 8

A surveillance room. There are maybe a dozen desks in the room, each with several monitors on them. Staff sit in front of the screens, working at terminals. The MAN IN THE STREET enters the room, taking off his jacket and sitting down at a desk. Another man is sitting at a desk next to his, his fade in shadow.

MAN ON THE STREET: Good evening. How are you?

SHADOW MAN: Good. You?

SHADOW MAN: Your wife and kid?

MAN ON THE STREET: They're good. Good. Everybody's good.

The SHADOW MAN turns back to his monitor. On the screen, we see a feed from a surveillance camera outside. We see DOGGETT and REYES run across the road to investigate the MAN IN THE STREET's car. The SHADOW MAN watches intently.

[Fade to black]

SCENE 9

Surveillance footage. We again see SCULLY being surveilled on the train platform. The camera zooms in to show her face. We see REYES standing on the platform. A solitary man in shadow walks down the platform.

[Fade to black]

SCENE 10
5:41 AM

Day. In the car, REYES is asleep, whilst DOGGETT reads the paper. He notices the MAN IN THE STREET leaving the building, moving towards his car.

DOGGETT: Monica, wake up.

REYES: What?

The man starts the car and drives away (license plate 29 - DOTH), past DOGGETT. Once he has passed, DOGGETT turns the car around in the street and follows.

SCENE 11

Early morning. SCULLY's apartment. PATTI is laying awake on the sofa. She gets up and sees SCULLY sleeping in her bedroom. She goes to the baby monitor and turns it off. She stands over WILLIAM and outstretches her arms to pick him up. In SCULLY's bedroom, her cell phone starts vibrating on the bedside table. She wakes up and answers it.

SCULLY: (On phone) Hello.

DOGGETT: You awake?

SCULLY: Yeah. I just laid down. What time is it?

DOGGETT: 6:00 AM

We see DOGGETT and REYES are walking up the street in front of SCULLY's apartment.

DOGGETT: Agent Reyes and I just tailed a car onto your street. We watched a guy go into your building. A guy we're guessing you've got no business with. (on phone, voice) You there, Agent Scully?

SCULLY appears from around a doorway with her gun, aimed in front of her. She sees PATTI holding WILLIAM.

SCULLY: Put him down. Now!

PATTI: Oh, my God.

SCULLY: Put my baby down.

PATTI puts WILLIAM back down in his crib. She looks visibly shocked by SCULLY's actions.

The door handle starts to turn slowly. Outside her apartment door, we see the MAN ON THE STREET picking the lock. DOGGETT exits the stairwell and sees him. He races towards him and pins him up against the wall. He wrestles him to the floor as REYES appears from the stairwell. REYES moves towards the door.

REYES: (Pounding on door) Agent Scully?

SCULLY still has her gun aimed at PATTI, as the door opens.

REYES: Agent Scully, do you know this man?

SCULLY looks down at the MAN ON THE STREET.

DOGGETT: I wouldn't think so. Not with him trying to pick his way into your place.

DOGGETT shows SCULLY the lockpick he was using to pick the lock.

SCENE 12

Inside SCULLY's apartment. DOGGETT, REYES and SCULLY are interrogating PATTI and the MAN ON THE STREET, who are sat next to each other on the couch.

DOGGETT: Start with who you work for.

MAN ON THE STREET: I'm not at liberty to say.

DOGGETT: Is this your wife? Maybe she's at liberty. Maybe she doesn't want to accompany you to prison.

SCULLY: You staged this, didn't you? Arguing on the street. Everything.

PATTI: No.

SCULLY: It's a con job. What are you after? My baby?

PATTI: No, no. I want to protect William.

MAN ON THE STREET: That's enough. You want to get us killed?

PATTI: You said ... you said that they could help us. You told me that. That's what you said.

DOGGETT: What the hell is going on here?

MAN ON THE STREET: They're watching.

DOGGETT: They're watching?

SCULLY walks over to the window and lowers the blinds.

SCULLY: You got something to say, say it.

MAN ON THE STREET: I work for the National Security Agency. The name on my driver's license is false. If you were to call the police I would be detained only long enough for another NSA agent to authorize my release. I don't exist as a citizen, nor does anyone I work with.

DOGGETT: So what are you doing here?

MAN ON THE STREET: As you can see, my wife is upset. I was coming to get her to stop this very event.

REYES: What's she so upset about?

PATTI: We have a daughter ... Joy. There's something about her. Something different. Just like there's something different with her son William.

SCULLY is silent, listening carefully and shocked at PATTI's revelations.

DOGGETT: Different how? How do you know anything about her or her son?

MAN ON THE STREET: (To DOGGETT) I know virtually everything about you. (To REYES) And you. (To SCULLY) And you. Several months ago, you saw your son affect the movement of the mobile over his crib. He spun it, as if with his mind. It happened to us the same way.

REYES: So you've been looking in this apartment with what, cameras?

MAN ON THE STREET: Various forms of technology.

REYES: Then it's you who's been contacting us.

MAN ON THE STREET: Not directly. My scope is limited. I only look at what they tell me to. But I have a supervisor who I've told everything I'm telling you about my daughter, and her son, and he started to look into it. He learned things about a super- soldier program. Things he won't tell us. Crimes, he says, against innocent people.

SCULLY: What does he want with Mulder?

MAN ON THE STREET: Mulder's the only one capable of making the connections, he says.

PATTI: Maybe we can help you. And maybe you can help us find out the truth. About what our babies really are.

During the pause in conversion, SCULLY's home phone rings. She picks it up and answers.

SCULLY: (On phone) Hello.

SHADOW MAN: (On phone) You've had quite an earful.

The voice we hear through SCULLY's phone is distorted to disguise it.

SCULLY: Who is this?

We see the SHADOW MAN sitting at his desk.

SHADOW MAN: As my associate indiscreetly told you, we don't have names.

SCULLY: You've been listening to us?

SHADOW MAN: It's all I could do after you closed the shades, Agent Scully.

SCULLY: You ever heard of the Constitution?

SHADOW MAN: Yes. It's what allows foreign terrorists to live here and enjoy the American dream, until time comes to destroy it. But my trespasses are the least of your concern, after what they've done to you and Mulder.

SCULLY: What have they done?

SHADOW MAN: Actually, it's what they're prepared to do next. I'd be happy to tell Agent Mulder.

SCULLY: (Tearful) Well, you're going to have to tell me 'cause I don't know how to reach Agent Mulder.

SHADOW MAN: You reached him yesterday. You sent him an e- mail. Would you like me to read it to you?

SCULLY: (Tears are now welling up in her eyes) Look why should I trust you? You're just a voice on the end of the phone. I'm not going to give you anything unless I can meet you. Unless I ... unless I can see your face. Are you still there?

SHADOW MAN: If you think you can flush me out you're making a big mistake. Bus bench, Internet cafe. Come alone. You have 20 minutes.

The SHADOW MAN hangs up the phone. SCULLY puts on her jacket.

DOGGETT: Agent Scully? What are you doing?

SCULLY: I'm going to meet your contact. I think you should watch William, Monica.

DOGGETT: I don't like this. I don't like the feel of it and I don't like you agreeing to it without backup.

SCULLY: You said I had to trust someone, right? Well, that's what I'm doing.

SCULLY gets ready to leave.

SCENE 13

Outside the Federal Grounds internet cafe. SCULLY stops and sits on the bench. Her cell phone rings as soon as she's sitting.

SCULLY: (On phone) Hello.

SHADOW MAN: (On phone, distorted) Are you armed, Agent Scully?

SCULLY: Yes.

SHADOW MAN: Then you're prepared to use your weapon should anything go wrong?

We see a surveillance camera is monitoring SCULLY outside the cafe.

SCULLY: (on phone) I'm not sure I follow you.

SHADOW MAN: Then do exactly as I say. If you vary my instructions in the smallest way, we're over. If I see, or suspect that you're not working alone I will terminate our communication. If I believe a third party is trying to use this meeting to prevent our exchange you must be prepared to use your weapon in your own defence. Am I clear?

SCULLY: (on phone) Yes.

SHADOW MAN: (on phone, voice) There's a green sedan across the street from you. The keys are in it. I want you to get in the car.

SCULLY notices the car on the other side of the road. She gets up and goes over to it. The camera tracks her whilst she does this. She looks around before getting into the driver's seat.

SCULLY: (on phone) All right, what next?

SHADOW MAN: (on phone, voice) Start the engine, put the car in drive and await my next order.

SHADOW MAN: (on phone, voice) Pull out quickly! Go now!

In front of an approaching car, SCULLY accelerates from the side of the road into traffic. The car she cuts up slams on the brakes and sounds their horn in anger. SCULLY continues to accelerate down the road, driving with one hand and holding to phone to her ear with the other.

SHADOW MAN: (on phone, voice) Agent Scully?

SCULLY: (on phone) Is it absolutely necessary to get innocent people hurt?

SHADOW MAN: (on phone, voice) You're free to stop the car and walk away at any time. Up to you. I'm doing this for your own protection and for Mulder's.

SCULLY: (on phone) So where am I going?

SHADOW MAN: (on phone, voice) Turn right. Right now.

SCULLY looks up ahead. There is a narrow alley to the right up ahead. She turns into it and stops the car. The camera is watching her. She walks away from the car.

SHADOW MAN: (on phone, voice) Stop the car. Get out, Agent Scully. Turn the engine off, take the keys out. Walk to the top of the alley. There's another car there. Get in and drive directly to the interstate on-ramp heading west. You will continue driving west until I tell you otherwise.

[Fade to black]

SCENE 14

Night. Road. SCULLY is driving alone in the dark. She is still holding the phone to her ear.

SHADOW MAN: That's far enough. Get out of the car.

She moves to turn off the engine.

SHADOW MAN: Leave it running.

SCULLY: Where are you?

SHADOW MAN: Move around to the trunk. You'll see a change of clothes inside for you. Put them on.

SCULLY: Look, uh ... we're in the middle of nowhere.

She opens the trunk. There are clothes inside.

SHADOW MAN: There is no middle of nowhere anymore, Agent Scully.

We see SCULLY being watched from about 20 metres, by someone standing behind bushes. We are in a deserted clearing, the car's headlights providing the only illumination. SCULLY is changing into the new clothes. She bends down to the ground to pick up her old clothes when suddenly we see somebody's foot appear in front of her. It is the SHADOW MAN.

SHADOW MAN: Put the gun in the trunk. Your clothes, too.

She does as he asks. The SHADOW MAN takes a remote control device out of his pocket and turns it on. The car starts moving away from them. We see the license plate is 48 - INXU. SCULLY watches in semi-shock. When the car is sufficiently far away, he presses another button on the device and the car explodes in a huge ball of flames. He turns to SCULLY.

SHADOW MAN: Your watch. Give it to me.

SCULLY: This is ridiculous. This has gone far enough.

SHADOW MAN: Do you want to see Mulder again?

She takes her Omega from her wrist. The SHADOW MAN examines it before giving it back to her.

SCULLY: These clothes that I'm wearing ... they're my size. How the hell do you know my size?

SHADOW MAN: Your size? I know your blood type, your resting heart rate, your childhood fear of clowns. I know the name of your College boyfriend, your true hair colour, your ATM pin number, favourite charities, pet peeves. I know you spend too much time alone. And I know ... that on one lonely night you invited Mulder to your bed.

SCULLY cannot believe all this. Her eyes starts to well up.

SCULLY: (Speechless) Oh, my God.

SHADOW MAN: I was as surprised as you are.

Tears have started to stream down her face.

SCULLY: Who authorizes you? I mean, what gives you the right? Who are you?!

SHADOW MAN: I'm the future, Agent Scully. And I risked my life being here.

SCULLY: Well, then why do it? I mean, why meet me?

SHADOW MAN: Because you can reach Mulder. Mulder needs to know what I know or he may have no future. Perhaps no one will. Another car is parked on the main road, half a mile out. If I see that you haven't contacted Mulder in the next twenty- four hours, I disappear and you never see me again. Do you understand, lady?

He holds out some car keys and she takes them. She walks off into the night. The SHADOW MAN watches her.

[Fade to black]

SCENE 15
FBI TRAINING ACADEMY
QUANTICO, VIRGINIA

SCULLY is in the teaching lab, standing over a cadaver with a group of students. DOGGETT is standing outside in the corridor. She notices him.

SCULLY: (To her students) Excuse me.

SCULLY comes over to the lab door, opening it and standing in the doorway.

SCULLY: I'm teaching a class, Agent Doggett. Is it something pressing?

DOGGETT: Yeah. I'm worried now about what it is I've gotten you into.

She joins him in the corridor.

SCULLY: You're right to be worried.

DOGGETT: This guy that led you all over town last night ... he says he wants to talk to Mulder, right? Why does he need you? Why not go to Mulder directly? 'Cause this guy knows Mulder resurfaces only if the one person he trusts asks him to.

SCULLY: That guy didn't come to me, Agent Doggett, he came to you. That woman that I took in blew his cover. He had no other choice.

DOGGETT: Did you ever stop to think that this woman and her husband are in on this, too?

SCULLY: I don't believe that. That woman is truly scared for her child for the same reasons that I am.

DOGGETT: How do you know they're not being used by this Shadow Man to lure Mulder out? To kill him?

SCULLY: 'Cause that couple doesn't even necessarily trust the Shadow Man. I mean, for their own reasons.

DOGGETT: You think about it. This guy seems to know everything. He even reads your e-mail. How can you, or anybody hope to ensure for Mulder a safe passage home?

SCULLY: Mulder and I already considered that even before he left. His return has been pre-arranged. The place, the mode of transport, everything's been set.

DOGGETT: Well, you can call the whole thing off?

SCULLY: I can't. I've already sent for him. Mulder's on a train. He'll be here at midnight.

DOGGETT: Maybe you can reach him.

SCULLY: You can't do that to me.

DOGGETT: I'm sorry.

SCULLY: (Passionately) I want to see him so bad.

DOGGETT: I know. And I want to make sure that you get to, Dana. That's the whole reason I'm here.

SCULLY: Well, it's too late. And I have to go.

SCENE 16
10:48 PM

SCULLY is on the train platform, walking down it alone. She checks the time on her watch. A surveillance camera watches her every move. It zooms in on her face. She looks very anxious.

SCENE 17
FBI EVIDENCE LAB

DOGGETT enters the lab, carrying an evidence bag. We see an female agent sitting at a bench, wearing glasses with magnifiers on each lens and a small light source attached to the bridge of the glasses. She is hard at work examining something.

DOGGETT: Agent Boal? Edie Boal? Yeah, I'm John Doggett. We spoke a few minutes ago. You said if I came right down you might be able to help me out.

She looks up from the bench. She moves the magnifiers so she can see him.

AGENT BOAL: What'd I get myself into?

DOGGETT: I've got some clothing here. I'm looking for anything you can find that might give me an ID.

AGENT BOAL: Male or female?

DOGGETT: It's a male who handled them and he gave them to a female agent.

AGENT BOAL: When do you need them?

DOGGETT: I got a little over an hour.

AGENT BOAL: Your staring over my shoulder doesn't make me go faster.

She turns and looks at him, her expression clearly making her point. DOGGETT leaves the sample with her and heads for the door.

SCENE 18

SCULLY is still pacing the platform. She checks the time on her Omega watch again, 11:26 PM. She turns back towards the station building, and REYES appears. SCULLY is still being surveilled. She turns away and we see the MAN ON THE STREET walking down the platform towards her. He stops in front of her, looking up the wall of the platform building. We notice a small camera attached to the wall. He takes out a black spraycan and sprays over the lens, obscuring its view.

CUT TO: DOGGETT is in the X Files office, watching the clock. It is now 11:38 PM. He takes his jacket and heads out the door.

CUT BACK TO: The Postal Telegraph clock at the station shows it is now 11:56 PM. REYES is on the platform. SCULLY is now looking very anxious. She checks up and down the platform. The MAN IN THE STREET is still there.

STATION ANNOUNCER: (On Tannoy) May I have your attention please? Southbound 112 now arriving. Southbound 112 now arriving. Please stay clear of the platform until the train comes to a full stop.

In the distance we seethe light of a train approaching the station. A bell starts to ring as the crossing closes.

The scene suddenly change to slow motion. SCULLY looks over at the MAN IN THE STREET. He reaches into a pocket and pulls out a handgun. He aims it in SCULLY's direction. REYES notices this and shouts to DANA. She runs over to her and pulls SCULLY to the ground. The MAN IN THE STREET shouts as he holds his aims. From the other end of the platform, and from behind a ground of waiting people, the SHADOW MAN appears. He has a handgun aimed back towards THE MAN IN THE STREET as he pushes his way past the group of people.

The SHADOW MAN walks towards him and fires, hitting the MAN IN THE STREET in the left side of the chest. He continues towards him. The MAN IN THE STREET collapses onto the platform. The SHADOW MAN moves closer. REYES reaches for her gun, protection SCULLY. Suddenly the SHADOW MAN is hit in the leg and chest. The camera pans to reveal DOGGETT standing a short distance away, his gun still aimed at the SHADOW MAN who falls backwards off the platform in front of the train. It looks as though he falls inbetween the rails.

The scene changes back to normal speed.

STATION MANAGER: (On radio) Two men shot! Two men shot! Keep rolling!

SCULLY runs up to him.

SCULLY: Stop the train!

STATION MANAGER: (on radio) Keep rolling!

SCULLY: I'm a Federal Agent!

STATION MANAGER: (on radio) Keep rolling!

SCULLY checks the carriages for any sign of MULDER, getting more agitated as the train passes.

SCULLY: (Shouting) Mulder!

The train passes the platform. SCULLY runs back over to REYES and DOGGETT, who are standing over the MAN IN THE STREET's body. He is just barely alive. SCULLY cradles his head in her hands, and he drifts away. SCULLY is very upset and kneels over him.

[Fade to black]

SCENE 19

Night. Later on the platform, a police car pulls up, its blue lights flashing. DOGGETT and a police officer are inspecting the tracks where the SHADOW MAN fell. SCULLY is sitting with REYES in silence on the platform bench. PATTI walks over to her.

PATTI: (Tearfully) Agent Scully? It wasn't supposed to happen. This wasn't supposed to happen at all. All we wanted was answers. We never meant to harm you. My husband was not a part of this.

SCULLY: I know. I know that he was only trying to protect me.

PATTI: The man who he works for ... he's the one who's responsible for this.

SCULLY: I know. I'm sorry. I'm so sorry.

PATTI and SCULLY are now both crying. SCULLY comforts PATTI and they hug.

DOGGETT leaves the trackside and walks up a flight of steps to the platform. REYES walks over to him.

REYES: What is it?

DOGGETT: What I was afraid of.

SCULLY: Agent Doggett, what?

SCULLY walks over to them.

DOGGETT: We can't find him.

SCULLY: Who?

DOGGETT: The man I shot. He fell in front of a frikkin' moving train but he ain't down there on the tracks.

SCULLY: Well, where is he?

DOGGETT: Nowhere. It shouldn't make a bit of sense, but it does. I went to run the DNA on the clothes he gave you, only the man's DNA can't be tested. They say it's some kind of weird DNA complexed with iron or some damn thing.

REYES: That doesn't make sense.

DOGGETT: I think it does. 'Cause he's not a man. He's a super-soldier.

SCULLY now realises what this means.

SCULLY: Mulder. I've got to warn Mulder.

SCULLY runs over to the STATION MANAGER, who is standing on the platform with some other passengers.

SCULLY: Get on the radio! Get on the radio and alert them that there's a situation on that train.

STATION MANAGER: A situation?

SCULLY: The man who fell on the tracks, he's gotten on that train.

Suddenly, a voice is heard over the STATION MANAGER's radio.

MAN FROM THE TRAIN: This is the Southbound 112. We got a jumper. A man jumped off the train at the mile 19 connector, ran into the Manville rock quarry there.

SCULLY turns away, sure of who they are referring to.

SCENE 20
MANVILLE ROCK QUARRY
1:17 AM

Night. A car is driving into the quarry. We see its license plate is 86 - WFMG. It comes to a stop and Agents SCULLY, DOGGETT and REYES get out. SCULLY runs around from the passenger seat as DOGGETT and REYES get out.

DOGGETT: Agent Scully, you drive. Head down into the quarry and we'll meet you at the bottom.

SCULLY: Okay.

SCULLY gets into the driver's seat whilst DOGGETT and REYES head off to explorer the quarry on foot. SCULLY starts the car and drives off.

DOGGETT and REYES are climbing down a rather steep rock face, littered with stones and boulders. DOGGETT stops and sees a man running across the bottom of the quarry, too far away to easily identify.

DOGGETT: Agent Reyes!

DOGGETT calls out. The figure stops momentarily.

DOGGETT: Mulder! Mulder!

The figure stands there.

DOGGETT: Mulder, it's John Doggett!

The figure starts to run again.

SCULLY: Mulder? Mulder?

A man appears through the mist. It's the SHADOW MAN.

CUT TO: SCULLY parks the car at the bottom of the quarry and gets out. She calls out.

SCULLY: Mulder?

Silence. She calls out again.

SCULLY: Mulder?

A figure emerges from the mist ahead of her. His face in shadow to start with, as he approaches his identity is revealed. It is the SHADOW MAN, alive and well as DOGGETT predicted. Recognising him, SCULLY runs off in the opposite direction. She continues as far as she can go. She finds herself in an open area surrounded by the high, steep sides of the quarry. There is heavy plant machinery standing idle around her. SCULLY stops and draws her gun as the SHADOW MAN appears from behind one of the diggers. He starts walking towards her.

SCULLY: Stop there! Stop right there! Why do you want to kill us?!

The SHADOW MAN continues walking towards SCULLY.

SHADOW MAN: Mulder must die. Mulder or your son.

Taking no notice of SCULLY he continues towards her menacingly.

SCULLY: What are you talking about? What does this have to do with my son? What's wrong with my son?! Answer me!

The SHADOW MAN suddenly stops in front of her. His expression becomes pained. His body goes rigid. He looks at the rocks around him. There is a reddish colouring around the base of the quarry. The SHADOW MAN starts shaking and drops to his knees. SCULLY holds her gun on him, unsure of what is happening. He drops onto his chest. Patches of black start appearing on his forehead. He tries to get up, but cannot resist the invisible attraction to the rock. He struggles to his feet, his exposed skin now completely blackened by a chemical reaction. Suddenly without warning, his body is pulled towards the quarry wall at great speed, flying past Agent SCULLY. He hits the wall with enormous velocity, his body exploding into dust on impact. Nothing remains.

SCULLY, laying on the ground to avoid him, looks over at the rock wall. She scrambles to her feet and runs off back the way she came, back to her car.

SCENE 21

Night. SCULLY is sitting in the internet cafe, typing an email to MULDER. WILLIAM is awake in his stroller next to her.

SCULLY: (Voiceover) I hold no hope you can respond to this. Or that it reaches you. I only hope that you are alive.

I cannot help believing that you jumped off that train because you knew what I now know - that these "super-soldiers," if that's what they are, can in fact be destroyed. That the key to their destruction lies in the iron compound at that quarry.

I am scared for you, Mulder. And for William. The forces against us are unrelenting. But so is my determination. To see you again. To regain the comfort and safety we shared for so brief a time.

Until then, I remain forever yours... Dana

SCULLY looks down at WILLIAM, who looks very content. She strokes his face with her hand, and smiles warmly at him.

She clicks the "Send" button. Seconds later a message message appears on the screen "Your Mail Has Been Sent."

Kikavu ?

Au total, 44 membres ont visionné cet épisode ! Ci-dessous les derniers à l'avoir vu...

Profilage 
26.11.2023 vers 13h

yoshi91 
24.12.2021 vers 11h

Kar026 
30.08.2021 vers 21h

nate6691 
27.05.2021 vers 16h

Nia110617 
07.04.2021 vers 12h

sanct08 
23.08.2020 vers 10h

Derniers commentaires

Avant de poster un commentaire, clique ici pour t'identifier.

Sois le premier à poster un commentaire sur cet épisode !

Contributeurs

Merci aux 4 rédacteurs qui ont contribué à la rédaction de cette fiche épisode

Angelgym34 
Hombidule 
poupette67 
sanct08 
Activité récente
Actualités
Un nouveau quizz arrive sur le quartier !

Un nouveau quizz arrive sur le quartier !
Les festivités liées aux 30 ans de la série et aux 20 ans du quartier continuent ! Je vous invite à...

Anniversaire - Annabeth Gish

Anniversaire - Annabeth Gish
En ce mercredi 13 mars 2024, le quartier souhaite un très bon anniversaire à Annabeth Gish !...

Mars 2024 sur le quartier

Mars 2024 sur le quartier
Nous sommes le 29 février et, avec un toute petite journée d'avance, je vous propose de dresser le...

Annabeth Gish dans la seconde saison de Pretty Little Liars : Original Sin

Annabeth Gish dans la seconde saison de Pretty Little Liars : Original Sin
Le Dr Anne Sullivan, incarnée par Annabeth Gish pendant 3 saisons dans la série-mère, fait son come...

David Duchovny dans la nouvelle série d'Amazon

David Duchovny dans la nouvelle série d'Amazon
David Duchovny vient d'être engagé pour jouer dans la future série de Prime Video intitulée...

Newsletter

Les nouveautés des séries et de notre site une fois par mois dans ta boîte mail ?

Inscris-toi maintenant

Sondage
HypnoRooms

langedu74, 12.03.2024 à 21:00

Un nouveau film est à deviner dans notre jeu Ciné-Emojis du quartier HypnoClap !

mamynicky, 13.03.2024 à 10:37

Bonjour les loulous ! Les Bridgerton s'offrent un nouveau design grâce à Spyfafa. Aux couleurs de la saison 3 et du printemps.

sanct08, 14.03.2024 à 11:53

Holà ! Les sondages de Star Trek - Le Caméléon et The X-Files vous attendent ! :=) Pas besoin de connaître les séries

mnoandco, 15.03.2024 à 19:50

Thèmes en vote côté "Préférences". Merci pour vos

lolhawaii, 16.03.2024 à 21:34

Nouveau design pour le quartier 9-1-1 / Lone Star !! On attend avec Prof' vos avis dans les commentaires sous la news du quartier

Viens chatter !