Here are some script fragments from "The End", the last episode of season five on The X-Files in which Fowley is introduced and subsequently shot. *hee,hee* These are only the scenes Fowley is in. If you want to read the whole script, go here. Read it from the episode itself!

Thanks to Tiny Dancer's X-Files Episode Guide.

SCENE 4

(FBI briefing room. SPENDER is showing slow motion video of the RUSSIAN MAN getting shot. Several agents, including SCULLY, listen.)

SPENDER: Using a weapon registered to a US intelligence agency, the shooter fired one kill shot at Anatole Klebanow before being captured without incident a short distance from the scene. .

(MULDER and SKINNER enter. SCULLY turns to look up at MULDER.)

SPENDER: No motive has been established nor has the shooter offered up a statement or accomplice.

(SPENDER sees MULDER and stops.)

MULDER: (Mr. Congeniality) Please continue.

SPENDER: (not happy) The trajectory of the kill shot suggests the shooter acted alone, but we cannot yet rule out an accomplice or conspiracy. A single bullet was fired from a catwalk at a steep angle striking the target just right of the solar plexus.

MULDER: Iím Ö sorry, can you rewind the tape? Please. Iíll tell you where. Just take it back?

SPENDER: Let me get through this. If you have any questions, we can talk later.

MULDER: I donít have any questions. No. I just think youíre wrong.

SCULLY: (quietly) Mulder Ö what are you doing?

MULDER: I donít think the Russian was the target. I think it was his opponent.

SPENDER: His opponent, Agent Mulder, was a twelve year old boy.

MULDER: And a good chess player. Here, let me show you his best move, if youíll just take it back. (SPENDER reluctantly rewinds.)

MULDER: Okay, stop it there. Look what the kid does right here, right before the kill shot. Play. Do you see what he does? He just pushes back. You see that?

SPENDER: He just completed a checkmate. Heís pushing back because the gameís over.

MULDER: You described a steep trajectory for the kill shot. If the kid doesnít push back at that precise moment he catches the bullet in the back of the neck, not the Russian.

SPENDER: May we move on here?

(A woman, tall, attractive, dark hair, mid thirties, AGENT DIANA FOWLEY is sitting across the room.)

DIANA: I think Agent Mulder is right. Looks like the boy sensed the shooter precognitively . If you rewind the tape youíll see it.

(MULDER looks at DIANA, surprised.)

SPENDER: Thereís no way. Itís impossible.

SKINNER: Just rewind the tape so we can all see for ourselves.

(SPENDER obeys SKINNER, this time rewinding to the point where the boy looks up and behind him. SPENDER and MULDER look at one another, then MULDER and DIANA share a look.)

SCENE 6(Interior car. MULDER driving, SCULLY passenger, DIANA in back seat.)

SCULLY: How long have you been with the Bureau, Agent Fowley?

DIANA: Since í91. I took an assignment in Europe after the wall came down when the director stepped up foreign terrorism concerns.

SCULLY: And they brought you on this because of a terrorism angle?

DIANA: No. I, uh, I requested a reassignment. There were things at home I decided I wanted to get back to.

(MULDER and DIANA make eye contact in the rearview mirror. SCULLY doesnít notice.)

SCULLY: 1991. (to MULDER) Thatís about when you started work on the X-Files.

MULDER: More or less, yeah.

(MULDER and DIANA look at each other again.)

SCENE 7
INGET MURRAY PSYCHIATRIC HOSPITAL
GAITHERSBURG, MARYLAND

(GIBSON is watching THE SIMPSONS on TV.)

(MULDER, SCULLY, and DIANA enter. MULDER kneels down beside GIBSON.)

MULDER: Hi. My name is Fox. This is Dana and Diana. How are you doing?

GIBSON: I donít mind it here. They get all the good TV shows. Where I live, in the Philippines all we get is Baywatch.

(MULDER looks back at the two women, then back to GIBSON.)

MULDER: Whatís wrong with Baywatch?

(GIBSON looks closely at MULDER.)

GIBSON: Youíve got a dirty mind.

(MULDER doesnít quite know what to say. Looks at Scully.)

SCULLY: (suppressing a smile) Your parents are going to pick you up on Friday, Gibson, to take you back home.

GIBSON: (to MULDER) I donít want to play any chess.

MULDER: How do you know I want to?

GIBSON: ĎCause you got that cheapo chess computer in your hand.

(MULDER has indeed been hiding an electronic chess game under his arm.)

MULDER: Itís not so cheap. Donít you want to see how fast you can beat it?

GIBSON: No.

MULDER: Maybe because you canít.

(MULDER turns off TV. GIBSON doesnít answer.)

MULDER: Iím right, arenít I? You know what Iím talking about. You knew the moment I came in. Thatís how you win, isnít it Ö how you know what your opponentís going to do? You get inside his head. You read his thoughts. Thatís how you knew that man was going to shoot you Ö isnít it?

GIBSON: I know whatís on your mind. I know youíre thinking about one of the girls you brought.

MULDER: Oh?

(SCULLY raises an eyebrow, DIANA gives a half smile.)

GIBSON: One of themís thinking about you.

(SCULLY looks uncomfortable, DIANA interested.)

DIANA: Which one?

(GIBSON looks closely at MULDER.)

GIBSON: He doesnít want me to say.

(MULDER chuckles VERY uncomfortably. He stands and faces the two women.)

MULDER: This kidís going to need round-the-clock protection.

(MULDER quickly goes out into the hall. SCULLY follows.)

SCULLY: Mulder Ö (he turns to her) What was that all about?

MULDER: The kidís no chess master. Under controlled conditions, I could probably beat him.

SCULLY: Mulder, heís recognized internationally as a prodigy. Heís beaten Grand Masters.

MULDER: With the most unfair advantage. What heís doing amounts to a kind of parlor magic trick.

SCULLY: Mulder, he was goofing on you. He was playing along. Youíre positing that this kid can read minds.

MULDER: Weíve seen a number of these cases before, Scully.

SCULLY: We have seen cases, Mulder, of fakers and lucky guessers but no one that has ever been able to stand up to any kind of rigorous testing.

(DIANA comes out of the room and watches MULDER and SCULLY.)

No one who has gone so far as to claim that they can zero in on the mind of one person in a crowd of thousands.

MULDER: Maybe thatís why they want him dead.

SCULLY: Who? Who are you talking about?

MULDER: Iím not the mind reader.

SCULLY: Say that what youíre suggesting were even possible, whoíd want to kill a kid whose abilities would offer you the ultimate advantage Ö I mean in business, in war, in anything?

DIANA: Maybe somebody whose business is in keeping secrets.

MULDER: Well, letís test him. I think the kid will stand up. Letís run a brain scan and a psych evaluation on him. (looking away) You know what to do, Diana.

(MULDER walks away down the hall. SCULLY and DIANA watch him go.)

SCULLY: So, you two know each other?

DIANA: It was a long time ago. (SCULLY watches DIANA walk away.)

SCENE 9
INGET MURRAY PSYCHIATRIC HOSPITAL
(SCULLY and GIBSON holding hands walk through a door and down a hall.)

SCULLY: How you doing?

GIBSON: I didnít like those tests. I didnít like being in the machine.

SCULLY: Hmm Ö Theyíre a little scary, arenít they?

GIBSON: Youíre wondering, arenít you?

SCULLY: About what? About you?

GIBSON: About that other girl.

(DIANA, holding a file, steps out of a room to meet them.)

GIBSON: Sheís wondering about you, too.

(Later, GIBSON sits in a room facing six adults. Funny scene.)

DOCTOR 1: Weíre going to show you a group of cards and as we look at them we want you to tell us what weíre thinking. Now, take as much time as you need.

(As each of the DOCTORS looks at a card with a picture of an object on it, GIBSON looks at the person and says the name of the object.)

GIBSON: Chair. Piano. Piece of pie. Light bulb. Smiley face. Statue. Cat.

(DIANA and SCULLY are watching through an observation window in another room.)

SCULLY: Itís amazing. Itís hard to believe.

DIANA: Iíve witnessed clairvoyants who were over 90% accurate and seen telepathy being demonstrated but I donít know Iíve ever witnessed anything quite like this.

SCULLY: Whereíd you see that?

DIANA: Agent Mulder and I spent some time in psychiatric hospitals. There were some patients serving criminal sentences who we felt had been misdiagnosed.

(In the other room, GIBSON looks at each of the DOCTORS in turn.)

GIBSON: Ö omelette. Coffee and a cruller. A nonfat latte. An english muffin. Grand Slam number two with double hash browns and a side of Canadian bacon.

(DOCTORS all laugh and clap.)

DOCTOR 1: (over his shoulder to SCULLY and DIANA) He just told us all what we ate for breakfast.

SCULLY: (not looking at DIANA, very tense) I have to disappear for a bit.

(SCULLY quickly leaves the room. DIANA watches her go.)

SCENE 11

(Lone Gunman office, and home apparently. Sound of knocking. SCULLY is shown on a video monitor outside the door. FROHIKE is in pajamas. He is putting on a Kevlar bullet-proof vest.)

SCULLY: (on monitor) Is somebody going to let me in?

FROHIKE: Yeah. Yeah. Coming. Coming.

(To get the door open, FROHIKE must first unlock and unbolt seven very sturdy locks. Very funny. He opens the door and SCULLY enters.)

FROHIKE: Sorry. You caught me getting ready for bed. Come in. Come in.

SCULLY: Thank you.

FROHIKE: To what do we owe the pleasure at this late night hour?

SCULLY: I need your help.

LANGLY: (entering, also in pajamas with toothbrush in his mouth) With what?

SCULLY: Youíve all heard of Gibson Praise the chess wunderkind. These are a series of scans and neural electrical outputs of his brain and brain processes. (She places the images of GIBSONís brain on a lighted viewer.) There seems to be some suspicion that heís a fraud.

BYERS: Dorf on chess?

SCULLY: Well, apparently, he wins by reading his opponentsí minds.

FROHIKE: I love that.

LANGLY: And you want us to what?

SCULLY: Analyze the data Ö with an eye to the parapsychological.

FROHIKE: Ooh Ö. A walk on the wild side.

SCULLY: (not looking at them, switching off the viewer) First Ö I want you guys to tell me who Diana Fowley is.

BYERS: Diana Fowley? Geez, we havenít heard that name in a while.

SCULLY: Then you know her.

BYERS: Well Ö yeeaaah.

FROHIKE: She was Mulderís chickadee when he just got out of the Academy. Good-looking.

SCULLY: Well, she claims to have worked closely with him for a while.

LANGLY: She was there when he discovered the X-Files. She has a background of para-science.

BYERS: She got a legat appointment a while back Ö in Berlin. I always wondered why they split up.

(This has made SCULLY uncomfortable. She smiles tightly. Still not looking at the men, she turs the viewer back on.)

SCULLY: Well Ö Why donít you boys see what you can find?

(Hospital. GIBSON is watching The Silver Surfer cartoon.)

(DIANA is watching GIBSON from another room through an observation window. GIBSON turns at looks in her direction at one point, then turns back to the TV. MULDER enters the observation room joins DIANA at the window and watches GIBSON also.)

MULDER: Howís little Karnac doing?

DIANA: Put a TV in front of him and he turns right into a normal kid. Heís the real deal, Fox. We tested him with Zener cards, random numbers, a variety of ESP tasking. Heís got ability to not just focus on a thought, but a multitude of thoughts at once.

MULDER: Thereís something else. Thereís something weíre missing here.

DIANA: That was a good catch on the videotape. I was impressed.

MULDER: (embarrassed, looking away) Oh, you would have caught it eventually.

DIANA: No. Iíve been too many years trying to get inside the head of too many Arab terrorists. Iím out of practice with this stuff. But you seem at the top of your game.

MULDER: Thatís all I do. Thatís all Iíve been doing for the last five years. Been my life, such as it is. (smiles)

DIANA: Sometimes I hear about you ... about the work youíre doing. And I think how it might have been if Iíd stayed.

MULDER: Ah, weíd all be blown up by some terrorist bomb, no doubt, huh?

DIANA: I sense you could have used an ally, though Ė someone who thinks like you, with some background.

MULDER: Oh, you mean Scully?

DIANA: Sheís not what I would call an open mind on the subject.

(They laugh.)

MULDER: Sheís a, uh ... sheís a scientist. She just makes me work for everything.

DIANA: Yes, but Iím ... Iím sure there were times when two like minds on a case would have been advantageous.

MULDER: Iíve done okay without you.

DIANA: Hey ... Iím on your side.

(DIANA takes MULDERís hand as they look at one another. Outside in the hall, SCULLY, carrying GIBSONís file, approaches the door. Through the door window she sees MULDER and DIANA holding hands and smiling. Surprised, SCULLY keeps walking a few steps down the hall. She pauses, then turns and walks back the way she came without looking in the room again where MULDER and DIANA are still holding hands. SCULLY goes down to the parking deck and gets in her car. She sits quietly for about 15 seconds just thinking, then breathes deeply and pulls out her cell phone. She dials and exhales slowly.)

MULDER: (on phone, voice) Mulder.

SCULLY: (on phone) Mulder, itís me.

MULDER: (on phone, voice, pause) Where are you?

SCULLY: (on phone) Iím, uh, Iím on my way to work. I was hoping I could show you something. Something about the boy.

MULDER: (on phone) Well, Iím at the psych facility with him right now. Why donít you come by and show me?

SCULLY: (on phone, voice) Uh, no, Iíd ... Iíd prefer to show you at work if thatís okay.

MULDER: (on phone) Okay, what is it?

SCULLY: (on phone) I think youíll be surprised. Very surprised.

MULDER: (on phone) Iím on my way.

SCENE 13(SKINNERís office. MULDER and SCULLY sit in front of the desk. SPENDER, DIANA, and a few other agents are gathered on the couches.)

SKINNER: (sitting down) Youíre here to tell me a story.

MULDER: (to SCULLY) Tell him exactly as you told me.

SCULLY: (uncomfortable with what sheís saying) Iíve conducted some tests on Gibson Praise and have come up with some rather unexpected conclusions: ones which I myself have difficulty reconciling with what I know.

SKINNER: These are?

SCULLY: Neurological tests. Mapping of brain functions using a very high resolution EEG.

SKINNER: What did you find out?

SCULLY: The tests revealed something peculiar in an area of the brain that we are only beginning to understand. An area of the temporal lobe that neurophysicists are calling the "God nodule."

SKINNER: I hope Iím not going to hear that this kid is the next Christ child.

SCULLY: All of the boyís brain processes are showing extraordinary activity in exactly this part of the brain. Which is not just abnormal or anomalous, but from what I know absolutely unheard of.

MULDER: There are corollaries Ė The individuals who have been responsible for great leaps forward in understanding in science. Newton, Galileo, Einstein, Stephen Hawking. All these men exhibited modes of thinking that are suggestive of access to special brain centers.

SKINNER: All right. So this kid is a human oddity. Tell me why anyone would go to such lengths as to kill him?

MULDER: This kid may be the key not just to all human potential, but to all spiritual unexplained paranormal phenomena. The key to everything in the X-Files.

SPENDER: Let me get this right --- Weíre supposed to believe that this boy was going to be killed because of the X-Files?

MULDER: No, itís bigger than that.

SPENDER: Uh-huh. Explain it to me. To us.

MULDER: I canít. But the shooter can. The assassin that you have locked up ... in exchange for immunity from prosecution.

SPENDER: You want to give a murderer a free ride for the secrets to the pyramids? This is crazy. Itís nuts.

SCULLY: You mischaracterize what Iíve said. This would be quantifiable scientific proof of everything Agent Mulder and I have investigated over the past five years.

DIANA: How do you quantify the spiritual? It canít be done. You ask for immunity for a killer on that basis, the Attorney Generalís gonna go off. Youíre allowed to investigate the X-Files as an indulgence. But draw the wrong kind of attention and theyíll close you down. Put an end to all your work. Something I happen to have an interest in myself.

(MULDER nods. SCULLY looks at him.)

SKINNER: Letís everyone step out into the hall.(All stand.)

SCENE 16
CENTERVILLE, VIRGINIA
(Night. Car pulls up to hotel. Interior hotel room. GIBSON is watching "King of the Hill" on TV. SCULLY sits in a chair watching him.)

SCULLY: Gibson?

GIBSON: This is a great show. I wish we got this where I live.

(SCULLY comes over and pulls up a chair next to GIBSON.)

SCULLY: Iíd like to ask you something.

SCULLY: How do you do it?

GIBSON: I just hear you thinking Ö like on a radio. And sometimes there are lots of radios. And I want to shut them off and watch some TV.

SCULLY: Is that why you like chess? ĎCause itís just one thought that you hear?

GIBSON: Yeah, but thatís not why I like it all the time.

SCULLY: Why else do you like it?

GIBSON: Because thereís no talking. Just thinking. Itís nothing like real life where people think one thing but they say something else.

SCULLY: (laughs softly) Is that what people do?

GIBSON: Theyíre so worried about what other people are thinking when the people theyíre worrying about are worried about the same thing. It makes me laugh.

SCULLY: Why?

GIBSON: They make up all this stuff to believe but itís all made up. Some people try to be good people but some people just donít care. Like you.

SCULLY: You think I donít care?

GIBSON: No, you donít care what people think. Except for her. The other one.

(DIANA knocks and enters the hotel room.)

DIANA: Iím here to relieve you.

SCULLY: (to GIBSON) Well, weíll talk about this later, okay?

(SCULLY crosses to the door.)

GIBSON: They want to kill me, you know.

SCULLY: (at door) Nobodyís going to do anything to you, Gibson. I promise.

GIBSON: I know you do.(SCULLY takes her coat and leaves.)

SCENE 18

(Hotel room. Later. DIANA is asleep. DIANA wakes, startled. GIBSON is not where he was sitting earlier.)

DIANA: Gibson?(She sees GIBSON looking out the window.)

DIANA: What are you doing?

GIBSON: Thereís a man with a gun.

(DIANA gets up and runs to GIBSON pulling him out of the way and pushing him toward the bed. She stays at the window.)

DIANA: Gibson, get down. Get back. Get back.

GIBSON: He didnít come here to kill me. Heís aiming at you.

DIANA: Wha Ö

(DIANA stands up in front of the window, looks at Gibson, shocked, then faces the window. Window shatters as gunshot hits DIANA. She falls.)

SCENE 19

(Next morning. Exterior of hotel. Crime scene - patrol cars, ambulances. MULDER and SCULLY arrive. They get out of the car and see a womanís body covered with a sheet. They cross to the body.)

SKINNER: Agent Mulder, Scully. They killed a US Marshal and then shot Agent Fowley.

(DIANA, unconscious, is carried out of the motel room and loaded onto an ambulance. MULDER, concerned, holds her hand briefly before being pushed back by the EMTs.)

SKINNER: They worked on her here for an hour. They couldnít get a chopper in so theyíre in radio communication with the hospital. Sheís got weak vitals and a hole in one of her lungs, so theyíre not optimistic.

YEEHAA!

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