From pages 61-64 of the script:

JOHN DOGGETT
I got some guy on the phone at
Fort Marlene who didn't know that
he was supposed to give me the
runaround. I got him to send the
victim's corpse over to Quantico.

SCULLY
It's there now?!

CONTINUED:

JOHN DOGGETT
We got the car out front.

Doggett and Reyes' eyes go past Scully now, to:

ANGLE OVER SCULLY TO GIBSON PRAISE

Standing framed in the doorway of the hall that leads to the nursery.
Scully turns to him. Gibson reading her mind.

GIBSON PRAISE
You've got to go.

Scully stands considering Gibson's safety. As we:

CUT TO:

ANGLE OUT SCULLY'S WINDOW TO THE STREET

Where we see the N.D. Sedan Doggett and Reyes arrived in pull away from its parking
place. HOLD ON THIS -- long enough to make us wonder if something's about to happen,
which it does. A DARK N.D. SEDAN pulls to a stop in front of Scully's, THREE DARK-
SUITED MEN exiting, heading directly to the apartment:

CAMERA PANNING OFF THE WINDOW TO THE APARTMENT DOOR (CGI TRICK)

Where -- one, two, three -- THE DOOR IS SHOULDERED IN BY A DARK-SUITED MAN.
Who is followed in by the other DARK-SUITED MEN. CAMERA PANNING THEM as they
swarm into the apartment. But there is no one in the living room, so they head for:

INT. SCULLY'S APARTMENT - SCULLY'S BEDROOM - NIGHT

ANGLE TOWARD THE BEDROOM DOOR, where the lead DARK-SUITED MAN breaks
frame as he comes into the hallway.
Coming forward into the doorway of Scully's bedroom now, where he stops. Seeing:

REVERSE ON GIBSON PRAISE

On the far side of the room, frightened for his life.

RESUME DARK-SUITED MAN

He's found exactly who he's come looking for.

DARK-SUITED MAN
You're coming with us.

CONTINUED:

When TWO HANDS AND A HANDGUN BREAK FRAME, pointing right at the Dark-Suited
Man's head. CAMERA PANNING TO: AGENT DOGGETT. He was waiting for them, hiding
behind Scully's bedroom door.

JOHN DOGGETT
You didn't ask the babysitter.

The Dark-Suited Man stands frozen. The two men behind him in the hallway frozen, too.
Until they quickly draw their guns.

DARK-SUITED MAN
Easy now.

GIBSON PRAISE
Don't listen to him! He's looking
for an opening to take your gun!

At which point, Agent Doggett pulls his gun's hammer back.

JOHN DOGGETT
You move and I drop you right here.

DARK-SUITED MAN
No, no. We're leaving.

JOHN DOGGETT
Guns on the floor. DO IT!

And hearing this, his Dark-Suited friends put their guns down.

JOHN DOGGETT
About face, you sonofabitch.

The man turns and Doggett follows him, gun to the man's head.

JOHN DOGGETT
Gibson -- pick up these weapons.
Get on the phone and call the FBI.

As Gibson moves to do this, we:

CUT TO:

INT QUANTICO - AUTOPSY BAY - NIGHT

ANGLE THROUGH THE WINDOWED DOOR that separates the autopsy bay from the hall
leading to it. Where Scully and Agent Reyes round in from a b.g. hallway,
heading toward us in a hurry.

Scully's in the lead when the two women burst into the room, PASSING US, THEN
PULLING US toward A SHEET-COVERED BODY which is center room,
placed on the stainless steel autopsy table.

CONTINUED:

NEW ANGLE ON SCULLY, REYES

Scully removes the sheet, REVEALING A HORRIBLY BURNED CORPSE.