From pages 61-64 of the script:
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.
It's there now?!
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.
You've got to go.
Scully stands considering Gibson's safety. As we:
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.
You're coming with us.
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.
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.
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.
You move and I drop you right here.
No, no. We're leaving.
Guns on the floor. DO IT!
And hearing this, his Dark-Suited friends put their guns down.
About face, you sonofabitch.
The man turns and Doggett follows him, gun to the man's head.
Gibson -- pick up these weapons.
Get on the phone and call the FBI.
As Gibson moves to do this, we:
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.
NEW ANGLE ON SCULLY, REYES
Scully removes the sheet, REVEALING A HORRIBLY BURNED CORPSE.