#maggie scully

[alexa-crowe]

THE X-FILES 1.13 | "Beyond the Sea"

[stephy-gold]

Knowing that in 2023 Scully is close to her mother’s, Maggie, age when her abduction happened is mind blowing

[randomfoggytiger]

Gethsemane, Bill Scully Apologia, and Maggie the Emergency Contact

Dialogue and Play-By-Play Analysis:

Bill: "I picked up the phone when they called Mom. I thought you could use a change of clothes."

Scully: "Thank you... where's Mom?"

Believing her cancer is still a secret, Scully automatically places Bill's importance below her mother, wanting to talk freely with Maggie (without Bill.) Bill sees and understands this; and is hurt that she still won't open up to him despite being here, now, for her. As of yet, he doesn't act on that hurt.

Bill: "I didn't tell Mom what happened...."

Scully: "...But I'm okay. Luckily."

Bill: "You're not okay, Dana."

Scully: "I told Mom not to tell you."

Bill: "Why?"

Scully: "Because it's very personal. Because I don't want sympathy."

For all of the just criticism against Bill later in this arc, here he is holding back his anger (an expression of his hurt) and listening, really listening to his sister. He keeps quiet, giving Scully room to fully explain herself; and even sympathetically locks eyes, giving her his full attention.

Another thing of note: he is staring at Scully with the exact look of sympathy she wanted to avoid. Mulder and Maggie know her enough to acquiesce to her "I'm fine"s; but Bill is her life-long peer, and siblings can't hide truths from each other as effectively as they can their parents or partners.

"You think you can cure yourself."

Bill realizes that his sister never told her own family-- him-- about her cancer because she does, even now, believe she can cure herself. He's stunned, shocked, even appalled; and that leaks into his voice, coming across as judgmental.

Scully doesn't deny it, caught; and sighs, frustrated, that he divined and overly-simplified something she hadn't expressed to anyone and probably would not have been able to without a beautiful speech prepared ahead of time.

"Mom tells me that you've gotten worse. That your cancer's gone into your bloodstream."

This explains why Maggie told Bill in the first place: she cracked under the strain Dana's edict of secrecy put her under, watching her daughter slowly die without any apparent attempts to circumvent that death or even to bond over their shared tragedy. Bill became her only recourse... and Bill spilled the beans (as he does, again, in A Christmas Carol.)

Scully is shaken by his bluntness, unable to shy away from the truth spoken so baldly to her face.

"What are you doing at work getting knocked down? Beaten up? What are you trying to prove-- that you're going to go down fighting?"

Scully: "Now, c'mon Bill--"

Scully is deferring back to an old sibling dynamic: Bill misunderstanding, or only understanding enough to feel she's acting out of turn; and her attempting to draw him away from his preconceived notions. In this case, however, he's right; and she's avoiding the truth of that (subconsciously.)

Bill stops her by slapping down the clothes, getting her full attention.

"Y'know what Mom is going through? Why do you think I didn't tell her when they called?"

"What should be doing?"

Bill: "We have a responsibility-- not just to ourselves, but to the people in our lives."

And he's absolutely correct here: Scully has been so focused on work and its promise of a cure that she's forgotten to give space to those suffering alongside her.

"Just, just because I haven't bared my soul to you or to Father McCue or to God, it doesn't mean I'm not responsible to those important to me."

Here Scully reveals she thought emotional distance and soldiering on was her way of protecting her loved ones from her burdens, providing them strength in the face of her worsening health. In reality, it worsened their fears and burdens; and furthered their isolation... except for, ironically, Mulder, who wasn't ready to face the implications of her impending death, anyway.

"To who? This guy Mulder? But where is he, Dana? Where is he through all this?"

Bill is less right here: from his perspective, Dana has (once again) wrapped herself up with a man whose authority and work ethic supersedes Bill's love and concern for his sister-- another in the pattern of their late father and Daniel Waterston and Jack Willis. Bill isn't stupid: his above reproach also reveals he knows Mulder knows about Scully's cancer; and the fact that her partner did and still left her alone to deal with it to "pursue his career" while Bill hasn't been able to be there to support her at all eats away at him, makes him hate the man. (And still he's civil when he meets Mulder, even talks with him in terms he believes a workaholic will understand-- "Let's keep the work away from here"-- only getting rough when he misinterprets Mulder's blank face in response-- "Let her die with dignity.")

Despite being wrong here, Bill still hits the mark; because Mulder did wander off on a quest. But Scully can't argue for Mulder without betraying her own reticence, her own need to keep Mulder in the dark for Mulder's sake-- because that would betray her feelings in a way that she doesn't want to discuss with Bill, especially after Mulder has consistently dodged that serious conversation for years now. So, she picks up her clothes and ends the conversation.

In-Depth Analysis

Maggie Was Scully's Emergency Contact

The hospital called Maggie when Scully was rushed in, unconscious; and while this doesn't outright disprove the theory Mulder might also be an emergency contact, it certainly fits in with the pattern of him being called to the hospital and let into Scully's room by Maggie and not the other way around (i.e. One Breath and Wetwired.) Furthermore, Mulder isn't alerted (that I know of) to a missed call from the hospital after his return to civilization, meaning the hospital didn't notify him at all.

Bill the Bully?

Is Bill a despicable figure? Most definitely... in a deleted Memento Mori scene-- which is why I think they cut it. Though his words are brusque, even cruel in their blunt honesty, Bill, apart from that scene, doesn't seem to willfully inflict or weaponize guilt against his sister, wielding it only as a reminder of how much her family is left out of her life, how much they want to be there for her and don't understand why she won't let them in. It's a fundamental difference in how they approach life; and both are forceful about their insistence on doing things their own way.

Scully is used to being everyone's source of strength (Maggie places her on a pedestal even above her brothers in Memento Mori), which hinders her from opening up or betraying her weakness. Being "the strong one" for so long turned into a fear of failing others; but this reticence has the opposite effect, ostracizing and distancing her family (and Mulder) in her struggles to keep them unaffected. Their divide grows as the years go on (though it seems an equilibrium of sorts has been reached after Emily, since she mentions them fondly in How the Ghosts Stole Christmas and indirectly in Millennium.)

Bill Is Right (in This Instance)

On its face, Bill's speech is unrelenting and out of left field... but is it, really?

Bill is told about his sister's cancer only when it has become irredeemably terminal. He arrives on land, either before or after Maggie's revelation, and finds the rest of the family ignorant and his mother having to shoulder that burden, alone, because his sister refused to let her tell anyone else the news-- meaning, Maggie has been suffering in silence the entire cancer arc, trying to abide by her daughter's terms for space and silence on the topic. However, Scully's definitive terminal diagnosis broke her; and Maggie, having no one to turn to support because Dana still refused to talk about it, finally confessed to her priest and reached out to her son for strength. Bill sees how hard this has been on her and tries to alleviate that burden by adopting his sister's methods: keeping Maggie in the dark as much as possible. It honors what he knows to be his sister's wishes and his mother's fears.

In this scene Bill is absolutely in the right. He and his sister, while not incredibly close, have no ill will between them; and he finds out that not only has she been slowly dying for months and sworn their mother to secrecy but she also still refused to tell him, even when he dropped everything to bail her and Maggie out with this act of kindness. This is wrong-- it is-- and his speech rebuking his sister is as deserved as Scully's are to Mulder whenever he acts only in stubborn self-interest.

Bill is hurt, Bill is grieved; and Bill drives that home, peeling back his sister's denial by exposing her true intent: "You think you can cure yourself." The ludicrous nature of her expectations-- cure incurable cancer and never tell a soul so she won't have to 'suffer' the shame or embarrassment of their sympathy or pity-- galls him; and he's right. It's Scully's struggle and her burden; but it's not just her struggle or burden: her family and loved ones are losing her, too, and that pain is just as powerfully frightening. Bill wants more from her than an immovable pillar of strength-- and that's a good thing. Maggie needed her to be "the strong one", and Mulder needed her to keep fighting; but Bill just wanted his sister to tell him the truth and let him in.

A last note: Bill grew up with Dana-- he knows her propensity to get lost in father figures and demanding authorities. He probably sees Mulder as another Daniel Waterston or Jack Willis, an extension of her undisguised adoration for their late father. He's naturally protective (as we see in Redux II, though grossly misplaced) and thinks Scully is losing that stability in herself the more engrossed she becomes in her work (ex. Gethsemane-Redux II and A Christmas Carol.) These fears and concerns are expressed in overbearing finger-wagging and anger rather than communication, a (sadly) common affliction in a family growing a more distant with time and lives necessarily apart.

Scully Believed She Could Cure Herself

Since Memento Mori, Scully's modus operandi has been to avoid, avoid, avoid the topic of her cancer (and the death of her father, her abduction, etc.) The following cases rarely touched on her illness unless she had a concerning diagnosis or needed further treatment, i.e. Zero Sum and Elegy. Radiation was likely ruled out as ineffective since the skirmish with Dr. Scanlon (and was a drain of her valuable energy and health without any chance of helping, regardless); so, Scully probably opted for more obscure treatments, buying time while she and Mulder chipped away at their work.

In the back of her mind, she believed, truly, that she wouldn't die: that her cancer could be tucked away from her family and cured before Bill or the others ever found out. As we know, Maggie bore the brunt of her daughter's edict of silence alone, finally caving when the cancer reached Scully's bloodstream. When Bill waits for an explanation-- staring at his sister's defiance and stubbornness and pure conviction that she's fine and that the family shouldn't be worried about her at all-- he figures out her blind expectation and avoidance-bordering-on-denial and says, appalled: "You think you can cure yourself." Scully dips her head, exposed and embarrassed.

The beginning of Gethsemane proves Scully was still denial: "my dying wish" she professes on the one hand only to reject the priest and shake her head at Bill with the other. No, Scully did not expect to die alone without her family there. When Bill demands, "We have a responsibility-- not just to ourselves, but to the people in our lives", she parries, "Just because I don't bare my soul to you or to Father McCue or to God." Scully thought she was doing her duty by keeping her loved ones in her thoughts while carrying out her solitary battle. When Bill strips her of her further excuses-- "Who? To this guy Mulder?"-- it peels back her hyper-focused perspective, reminding Scully that it's not just her and Mulder fighting the world.

She did her family and Mulder and herself a disservice by pushing them all away to "protect them", as she realizes in Redux II: being "strong" stripped them of the ability to support each other and was damaging in the long run. In this, Bill is undeniably correct. However, where Bill is wrong is that he doesn't see that Scully believes in Mulder's ability to save her, that by following him she is doing what is best for herself.

Her partner's fervor and hope give her strength; and his inability to break under defeat keeps her fighting even in her darkest hours (and does end up saving her life.) Scully put such faith in Mulder and his abilities and his theories that she kept council only with herself (as much as possible) to keep him going, to keep the weight off his shoulders (and her mother's and her family's) so that they could move forward as a well-oiled machine, ready to snatch the cure whenever they got their hands on it. And Mulder did get his hands on it... and then it failed.

She's dying; but it's not until the cure fails that the dam breaks: everything Scully had been fearing comes rushing out of her. She gives in, crying to her mother about her crumbling lack of faith-- because the miracle cure didn't work, because her months of waiting and hoping in private were all for naught, because she's going to die and there's no possible way to escape. But it's also freeing: she can own her fear, hold onto her mother, clutch Mulder's hand, cry with the priest, finally lean into and start to heal from the weights she's been holding on her back, alone.

And she prays: death is near.

Scully Wanted to Please Bill, Too

As she told Ed Jerse in Never Again, "There are other fathers."

The ouroboros twirls on and on in her personal life, goading her to both make a stand for herself and to placate Bill's expected reactions. In this situation, she did deserve his anger; however, this dynamic continues to play out in Redux II and A Christmas Carol, separate circumstances that are outside Bill's scope of understanding or perspective. After each confrontation, her brother always backs off and begrudgingly acquiesces his sister's boundaries; but it's easy to see why he clings to his late father's behaviors-- viewing them as the only way his sister will confide in him-- and why Scully automatically responds to-- albeit with more guilt than openness-- and rejects his methods.

It's an aspect of their relationship that fell to the wayside as the series barreled onward; but there are hints of resignation on his part after the events of Emily unfolded the way they did (silent support in the courthouse and true remorse in the church.) Scully, however, is locked in grief and unwilling to open back up, yet. We're never shown on-screen what happens next; but he seems to have caused her no further problems in spite of her professional and personal scares in the future (including almost being burned alive, an unexpected trip to Antarctica, job demotion, and getting gut shot all within the span of a few months.) Perhaps he gave her up for loss, perhaps he stayed close but distant, perhaps he withdrew from the drama all together. We'll never know; and, ultimately, it's up to individual interpretation.

Conclusion

This scene sets up the hinge upon which the cancer arc (and any future Scully family drama) twists and turns.

I don't believe Bill is bad, or even malevolent: he, like any other person in a family strained with distance and death, doesn't seem to blame Scully entirely or for long; and only wishes to get through to her somehow. We saw him bully her as a child but we also saw him gift and teach her how to use a bb gun. Scully, meanwhile, balks at and softens over Bill's bluster and overstepping, always effectively putting him in his place after courteously listening to his opinion. We saw her yell and shove him as a child but we also saw her gleefully play alongside he and Charlie.

In conclusion: like all sibling relationships, there are headbutts and there are fights; but it seems, at least by their conversation here and succeeding ones in the future, that any hitch or bump in the road is smoothed over, ironed out, or fixed before it becomes permanent. Bill makes excellent points that Scully takes into consideration, changing her future dealings with Maggie and Bill and even Mulder (namely, her willingness to open up in Detour); and Bill, having said his peace, supports his sister in her decisions the rest of this arc and later in S5.

That we know about.

Thank you for reading~

Enjoy!

[agent-troi]

thinking about what it must have been like for mulder, after saying things like “i think i can get [scully] to listen to me” and “scully, you’re the only one i trust” to realize that he was never gonna get through to her, that she can’t and won’t ever trust him in her condition, and that he’s not the one who can save her, only maggie can, and he just has to stand there utterly impotent and unable to do anything to help bc if he tries scully will shoot him, this time to kill

[gaycrouton]

I think it’s so symbolic that the first and last lines we ever hear Mulder’s mother speak are delivered at a distance over a telephone whereas Scully’s mother’s first and last lines are spoken in moments where she is surrounded by her family.

I sympathize with Teena Mulder’s trauma, but it’s evident her silent resignation at their situation versus Mulder’s relentless pursuit caused them to drift. Even in the scenes we get of them physically together, while they love each other, there was always something in the way.

Conversely, the most important thing for Maggie Scully was having her family close. In her first appearance, she’s encouraging Bill to connect with Scully, and in her final one, she wants to talk to her estranged son and reveals she still thinks about her lost grand baby.

I don’t say this to pit Teena against Maggie, they both lost children and were severely impacted by it. It’s just find the symbolism (intentional or not) fascinating.

The same can be said for their fathers*.

In their respective fathers’* first appearances, both Mulder and Scully instigate a hug, and while Scully’s is warmly received, Mulder is coldly rebuffed with a handshake.

In their final moments, we see Bill Scully lamenting about his love for his daughter, while Bill Mulder* is too little too late.

*All for Mulder to find out his real father is the man he hates above all else, and he was the only one who didn’t know.

It’s poignant that the man who grew up held at arms length was destined to be with the woman who yearns to wholly embrace the ones she loves.

[deathsbestgirl]

okay there's actually something i want to talk about during the cancer arc.

in memento mori, when maggie scully shows up. she's SO mad at scully and it breaks my heart. because scully isn't good at being vulnerable, even with her mom.

with mulder, she calls him first. she lays out the facts. she speaks so softly. her gentleness in this scene kills me. she's the one with the death sentence and she wants to make it okay for him but how could it ever be okay?? they may not have said it, they may have just been arguing, having their first real bump in their relationship. but scully doesn't doubt her importance to him, the love he has for her (even if it isn't exactly what she wants/needs from him — she doesn't actually hold that against him at all)

so when maggie comes in, angry because she's terrified, yelling at scully for not calling her *immediately* and again, scully is so calm, so gentle. she's very aware that she's her mom's only daughter. she's so aware of how losing her would break her mom more. maggie lost her husband and her oldest daughter, is distant from her youngest son. and maggie loves her family so much. scully doesn't want to add anymore heartbreak.

but the part that kills me (personally) is scully saying "i don't have any experience being sick. i promise you, i feel fine."

like. as someone who has been sick my entire life, that line just really strikes me. because again, it's just very aware. an awareness most healthy, abled people do not have. scully doesn't know what it means to be sick, to have something chronic, something deadly. she didn't know what to do. she reached out to her partner first, who always knows what to do when she doesn't. and he helps her find where to start, goes with her to skinner, calls her mom. he is there with her for all of it (once she lets him, when she lets him).

and that's truly something far too rare. people with chronic illnesses are SO isolated. often even when they have a support system. people don't know how to deal with illness & death and that kind of vulnerability & pain & grief. it's such a hard road.

and really, truly, genuinely. mulder is incredible. he tries so hard not to falter but how can he not when he's facing losing his only person.

[television-overload]

beautiful (X-Files fanfic)

Rating: G

Word Count: 4,985

Summary: Weakened by her latest round of chemotherapy, Scully doesn't feel much like herself. Mulder helps her find the strength to keep fighting.

Read on AO3

“I wish you weren’t seeing me like this, Mulder,” she says out of the blue, drawing his attention away from the magazine he was idly flipping through at her bedside. Immediately, he sets it aside, dropping his feet to the ground from where they were perched up on the hospital bed.

“What do you mean?” he asks, grabbing her closest hand and running his thumb over her knuckles.

Scully sighs. “Don’t make me say it,” she responds. The answer looms over them both, and she’s right. He doesn’t like hearing it spoken aloud.

Dana Scully is wasting away, and there’s nothing he can do about it.

This latest round of chemotherapy has hit her harder than the first, and he’s starting to see the physical changes. She’s thinner, paler. There are dark circles under her eyes. The doctors have noticed it too, recommending that she stay in the hospital for a few days or even a week rather than recover at home.

Of course, she had refused on principle until Mulder told her he was being forced to take a few days’ leave anyway to use up some vacation time, which wasn’t exactly true, and she probably knew it.

But either way, she had let him accompany her to her appointment, which was more than he could say for her previous round of treatment.

“I look like the night of the living dead,” Scully mumbles, fiddling with the scratchy blankets on her lap.

Mulder tries not to show a physical reaction to her choice of wording. “Don’t say that,” he pleads, shaking his head. “Please don’t say that.”

Scully smiles wryly. He’s as predictable as ever.

“I just mean, I don’t look like myself. I don’t feel like myself.” She says this with such an unaffected voice, that anyone less familiar with her tells would think this was just some passing annoyance, but Mulder knows. He can see the way this has grated at her, and he just wishes he could take this all pain away from her. “I can’t even do my makeup,” she adds, throwing a breathy laugh in for good measure at the end of her sentence, as if to say, ‘but why should I care about that?’

Mulder tugs on her hand, and she follows his unspoken cue and meets his gaze. “I like you just fine without makeup,” he says, his eyes communicating the sincerity of his words. “Besides, who is there to impress anyway?” he asks, gesturing at the empty room over his shoulder to emphasize his point.

Scully gives a tired smile. “You’re a guy, Mulder, you wouldn’t understand.” Squeezing his hand once, she adds, “But thank you,” and he gives her a smile back. He wishes he could do something to help her.

She hasn’t had the strength for much, ever since they began the treatment two days ago. She’s having a better reaction to it than she could be, but he knows the fatigue is frustrating her. She’s told him a thousand times that he doesn’t have to stay here with her, but he does anyway, even when she’s sleeping for hours on end. When she’s awake, he reads to her, or they watch something on TV, whatever she’s feeling up to. If it weren’t for the harrowing circumstances, he might even be really enjoying this time spent together outside work.

“Don’t take this the wrong way,” Scully speaks, drawing his attention back to her. “But you’re not looking so great yourself.” Her teasing tone is softened by her genuine concern for him, but he can’t help but play along.

His eyes narrow at her in mock offense. “Just what every man likes to hear,” he says sarcastically. “Scully, you wound me.”

This earns a patented Scully Eye Roll.

“Go home and take a shower at least,” she amends, looking at him fondly. “You could use one.”

He simply stares at her, challenging her to more of this banter.

“Are you gonna just keep insulting me until I finally leave?” he asks.

“If that’s what it takes,” she answers. “I could touch on your poor posture next, if you want.”

Mulder laughs, waving a hand dismissively as he stands. “Alright, alright, I’m going.” He looks back at her, pauses, and pointedly straightens his posture before grabbing his bag and taking a step toward the door. “You’ll be okay while I’m gone?” he asks, unable to help himself.

Her gaze softens, her playfulness turning back to seriousness. “Yes, Mulder, I’ll be fine. I probably won’t stay awake for much longer anyway.”

He nods, shifting to take another step, but on looking at her again, changes his mind. He turns back, crossing the floor to her bed and leaning down to press a quick kiss to her cheek. The hand that isn’t busy holding his briefcase gives her left shoulder a squeeze before he pulls away.

“I’ll be back soon,” he promises, tucking her blankets back up to her chin.

She smiles, her eyelids already growing heavy. “I know you will.”

-.-.-

True to his word, Mulder makes a stop at his apartment to shower and change, trading out the books they’d already finished with new ones that she will probably roll her eyes at. He has to admit, he feels like a new person as he steps out of the shower. He needed that more than he thought he did. There was something to what Scully had said earlier, about feeling like yourself. It gave him an idea.

As much as he wants to get back to her, Mulder knows she’ll be out like a light for at least a few hours. He decides to make another stop before heading back to the hospital.

It’s still fairly early in the day when he knocks on the door and waits for a minute. He hears the shuffling sound of someone approaching on the other side before the door creaks open.

“Fox?”

“Hi Mrs. Scully,” he says, giving her an awkward half smile, his hands jammed deep into his front pockets.

“What are you doing here? Is it Dana?” The woman is understandably worried; it’s not like Mulder to show up out of the blue like this unless there’s some kind of terrible news to convey.

He is quick to reassure her. “No, no, nothing like that. I just had something I—I wanted to ask you, if it’s no trouble.”

Maggie’s brows pinch together in that distinctly Scully way as she pulls him into her home, shutting the door behind him.

“What is it?”

Sheepishly, Mulder rubs a hand over the back of his neck, feeling less and less certain of what he came here to ask.

“Well, it’s just—Dana mentioned something earlier about wishing she had her makeup on, and I wondered… You know, her strength isn’t what it usually is, so I thought maybe I could—”

Maggie’s hands wrap around his forearm, halting his rambling speech. He looks up to see tears glistening in her eyes, and she nods in understanding.

“That’s very sweet, Fox.”

He nods, hoping his cheeks aren’t turning pink. He doesn’t do well with motherly praise.

“So, are you wanting me to show you how?”

He lets out a breath, relieved that he doesn’t have to find the words himself. “That would be great, actually.”

Mrs. Scully smiles, jerking her head toward the stairs so that he would follow her. “Come with me, I’ve got some stuff we can use.”

He dutifully follows after her as she leads him up the stairs. This is the furthest he’s been inside Maggie Scully’s house. He wonders how much of her belongings are mementos from Scully’s childhood, whether a certain painting hanging on the wall appears in her family Christmas photos or if it was bought recently.

In his perusal of the house itself, he nearly collides with someone he knows by name only. “Mom, who was that at the door?” the man is asking, and the moment their eyes meet, the air in the room thickens. “What’s he doing here?” he demands, looking to Maggie for answers.

Maggie is quick to come to Mulder’s aid. “It’s none of your business, young man,” she says, shooing him toward the stairs they had just come up. Despite his protestations, she continues, “Why don’t you go to the drugstore and pick up some eyelash straightening cream for Dana, we can bring it to her when we go visit later this afternoon.”

“But—”

She swats him on the arm. “No buts. Dana would really appreciate it if we brought it.”

He grumbles all the way down the stairs, but does as she told him. As soon as he’s grabbed his jacket from the coat closet, he’s out the door and starting up the car.

“What was that for?” Mulder asks, breaking the silence that had settled after the front door shut.

Maggie gives a pleased little smile. “There’s no such thing as eyelash straightening cream. Bill will be there for thirty minutes at least. As I’m sure you can imagine, knowing my daughter as you do, he doesn’t like asking for assistance if he can help it.”

Mulder lets out a surprised laugh. This woman runs a tight ship, and he has to respect her for it.

“Alright, now sit right here, Fox,” Mrs. Scully orders, pulling out a small stool from the vanity in her bathroom. She quickly leaves and returns with another chair from the bedroom, placing it across from him. She hums quietly as she rummages through her drawers, extracting several mystifying objects and setting them on the counter. “Now, let’s start with the foundation. I’ll show you how, and then you can do the other side of my face, sound good?”

Mulder nods, sitting up straighter to watch as she blends the creamy substance onto her skin. She’s narrating as she goes, and Mulder commits her words to memory, hoping his ability to replicate them will be as good as his ability to remember her instructions.

“Here, now you try,” Mrs. Scully says next, handing the brush to Mulder. He pushes aside any lingering feelings of awkwardness or embarrassment and sets in on applying the makeup. Maggie’s lips curl in a smile as she watches him, tapping ever so gently on her face as if he might break her. She wonders if he’s done this before. “You’re a natural,” she praises, “Are you sure this is your first time?”

He lets out a breath of laughter, shaking his head. “I’m no expert,” he answers. He’s silent for a moment, not breaking concentration, and then adds in a quiet voice, “My sister had this play makeup set, real cheap quality stuff. She’d sometimes force me to be her test subject.” His eyes grow distant as he remembers.

It wasn’t all that long before her abduction, he thinks, the last time they did this. It always went the same way. He’d sit patiently—or as patiently as an eleven- or twelve-year-old boy could—while she clumsily dabbed colorful eyeshadow onto his eyelids. He’d learned early on that it was better to just go along with it, having suffered the wrath of Samantha Mulder once before for refusing to be her dress-up doll. The makeup rarely stayed on for more than a minute after she declared him done, scrubbed off like some kind of deadly germ in the sink, but it was enough to appease her.

When she was finished, she’d beg him to help her with her makeup, putting that pouty lip out that she knew he couldn’t say no to.

“Stop blinking, Sam,” he’d say, focusing intently on brushing on the mascara she’d stolen from her mom’s makeup bag. “You’re gonna mess it up.”

He remembers these times fondly, of rare moments where he managed to be a good big brother, instead of pretending to be annoyed by her like he often did. He’d give anything to be teased by his peers for spending time with his kid sister, if it meant having her back.

With the utmost care, Mrs. Scully walks him through the remaining steps, patting him gently on the cheek once he’s put on the finishing touches.

“You’re a good man, Fox,” she says, her fondness for him evident in her smile. “Dana is lucky to have you.”

Once again, Mulder shrugs, uncomfortable with the compliments, no matter how sincere they are. “I’m the lucky one, Mrs. Scully.” He thinks he’s never meant something more in his life. “But I appreciate you saying so. Thanks again for showing me everything.”

She pulls him into a hug. “Of course, you call me if you ever need anything. We’ll be by sometime this afternoon.”

He nods, and is thankfully out the door with time to spare before Bill can get home.

After a brief visit to Scully’s apartment to grab some of her things, he drives back to the hospital. When he arrives, Scully is awake in her bed, her upper body elevated so she can look out the window. She greets him with a warm smile, and he can’t help but grin back.

“Sorry I took so long,” he says in apology, “Had to make a quick pit stop.”

This catches Scully’s attention, and she watches as he produces a bag from behind his back, setting it on the tray table in front of her and starting to take items out. She recognizes it immediately, and looks up at him in wonder.

“Mulder,” she says, her tone jokingly admonishing. “You didn’t have to bring me this.” She’s smiling still as she starts to sit up, reaching out to grab a tube of lipstick, but he stops her.

“No, no,” he says, gently lowering her hand back down to the table and urging her to sit back and relax. “You take it easy, I’ll take care of this.”

She gives him a look with a furrowed brow, but eases back, watching him suspiciously as he selects a bottle of liquid foundation and a brush.

He sits sideways on her hospital bed so that he is facing her. With the limited space, his thigh brushes up against her blanket-covered one, but it barely even registers. This kind of closeness is nothing particularly unusual for them. If nothing else, it is an added comfort to them both.

“You ready?” he asks, makeup brush poised to start.

Scully searches his eyes for a moment and, deciding she trusts him, gives a nod. “Okay.”

With a pleased little smile, Mulder begins applying a light layer of foundation, leaning in closer to reach as he gently blends it into her skin.

Scully can only watch him, his brows drawn together in focus as he works to meticulously apply the makeup. Her eyes wander over his face, over the sharp lines of his nose and the roundness of his lips. Occasionally his tongue peeks out in concentration, and she can’t help but fall a little more in love with him.

She didn’t ask him to do this. If he thought her needless grousing earlier was a request, she felt terrible. He isn’t her servant. He doesn’t exist to make sure she has all the niceties of her normal life in this cold, sterile place. The last thing she wants is to be a burden, especially to him. He’s had enough to deal with in his life without having to look after his terminally ill coworker.

But that isn’t all they are, is it? They’re friends—the closest of friends. This isn’t the first time he’s gone out of his way to do something nice for her, and she suspects it won’t be the last, no matter how little time she has left. For some reason, he’s taken it upon himself to be with her throughout this whole ordeal, even when it means holding back her hair as she heaves into a trash can or when she can’t adjust the covers over her cold feet.

The words jump into her mind unbidden: “In sickness and in health.”

It’s funny, in a distinctly unfunny way. She supposes she should be thankful that someone cares enough for her in that way, even if they are nothing more than friends and coworkers. In some ways, their partnership is more of a marriage than many people will experience in their lifetimes, and for that she is exceedingly glad. She couldn’t have asked for a better person to have in her life than Mulder.

He’s moved on now to powdering her skin with translucent powder, beginning with her forehead. As he brings the soft brush down between her eyebrows, she scrunches her nose up, hiding a smirk from him. His sloping green eyes soften from their earlier focus and he lets out a chuckle, playfully tickling her nose with the brush.

“You’re not gonna sneeze on me, are ya?” he asks, getting back to work on her cheeks and chin.

Her only answer is a quiet, affectionate smile.

After a careful application of blush on the apples of her cheeks, it’s time for her eyes. She watches him open her eyeshadow palette and rub a brush over one of the colors, and she quirks an eyebrow in concern. As he brings the small brush closer to her face, she draws back and looks at him doubtfully.

“Don’t put too much on,” she says, trying not to laugh at the absurdity of the situation.

Mulder rolls his eyes. “Relax, Scully, I got you.” He starts in again, shifting a few times to find the best angle before gently brushing over her eyelids in an arc.

“I like the brown color,” Scully informs him, her eyes fluttering in an effort to stay closed.

“I know,” Mulder answers. He pulls back just long enough to show her the tip of the brush, which is covered in a tasteful brown, exactly the right shade.

Before she has time to process that he knows what color eyeshadow she likes, she’s being told to close her eyes again and she complies, soaking in the feeling of being taken care of in such an intimate way.

“How did you know what eyeshadow I wear, Mulder?” she asks during a moment’s respite, while he returns the brush to the palette to pick up more of the colorful powder.

Now it’s his turn to glance at her disbelievingly. “I look at you every day,” he answers, as if it were obvious.

She takes in a breath, willing her heart to start beating normally again. The look on his face makes it clear that he’s laughing at her, amused by her lack of self-awareness in this respect.

“And…” he adds amusedly, “this one has clearly been used more than the others.”

Of course, she laughs to herself. There’s no way he was looking at her close enough to guess what shade of eyeshadow she wears. Although his perception of the finer details is greater than that of the average man. He has his Oxford education and eidetic memory to thank for that.

“Who knew a background in profiling could come in handy as a makeup artist?” she says as he finishes blending out the color.

“It was actually one of the main selling points when the FBI recruited me,” he deadpans, enjoying the banter. He could almost forget why she wasn’t able to do her own makeup.

The mascara comes out next, and it requires Mulder to encroach on her personal space even further, to the point where she can feel his breath on her face. He smells of peppermint toothpaste and hazelnut coffee, and she even catches the scent of his shower gel, like fresh rain water. All of this she counts as a marked improvement to the antiseptic smell of the hospital. It smells like their office. It smells like home.

When he’s done all he can to her eyelashes with her eyes closed, he asks her to open them so he can give them the finishing touches. Her eyes flutter open, and she is mildly startled to find him hovering only inches away.

“Do you have to be that close to my face, Mulder?” she asks, carefully hiding her nervousness behind a laugh.

Mulder chuckles and goes back to work, gingerly running the brush over her lashes. “That depends, do you want to be poked in the eye, Scully?”

Resigned to their positioning, she fights the urge cup his elbow with her hand, steadying him as he completes arguably the most delicate part of this routine.

“There,” he says, leaning back at last. “I think that about does it. Except—”

He pauses, reaching onto the tray table to grab the lipstick she’d picked up earlier.

“I knew I was forgetting something.” Before she can prepare herself, he’s removing the lid from the tube and drawing closer again, his hand finding its way to the back of her head to hold her still. She hardly dares to breathe, feeling his fingers threading through her hair as he carefully runs the tip of the lipstick over her lips, depositing the bright color on their surface.

She looks more alive than she has in a while, even if it is a false image.

She wants to avoid eye contact, being this close, with him doing this thing for her, but she can’t. Her eyes are locked on his as they focus intently on keeping the color within the lines of her plump lips. A few times, his eyes flick up to hers, and she catches the way the corners of his mouth quirk up when they do. She wonders what he’s thinking.

In no time at all, it’s done. Every last detail has been tended to, and he pulls back to survey his work. The hand that was resting on the back of her head drags forward along her jawline, and ever so lightly, his thumb comes to rest over her newly-painted bottom lip.

“There’s my Scully,” he says quietly. Proudly.

She feels the tears pooling in her eyes, but there’s nothing she can do about it. He, thankfully, doesn’t mention it.

“Can I see?” she asks, her voice managing not to waver too badly.

He smiles and nods, reaching for a handheld mirror and holding it out to her.

She’s not sure what she was expecting—clown makeup, maybe—but that’s not what she sees at all.

“Oh, Mulder…” She’s finding it very difficult to withhold the tears that are trying to escape. “You—you did a great job.”

Aside from perhaps just a little too much blush, everything is as it should be. She looks healthier, more confident. Her makeup is a mask. It is comforting to her, makes her feel like she can face whatever it is that lies before her. Mulder has always been able to see past that mask, and if it were anyone else, it might bother her. But not him.

“You didn’t cover my mole,” she says, reaching up to touch the offending spot beneath her nose.

Mulder takes her hand and pulls it away from her face. “Cause it’s cute,” he answers simply, smiling at her almost reverently.

She’s surely blushing now.

“How do you feel?” he asks. What a loaded question that is.

She tilts her head, surveying the surface of her face from every angle in an effort to stall long enough to regain her composure. It’s a placebo, she knows, but she feels reinvigorated. Ready to fight another day.

“It’s been a while since I’ve felt like myself,” she answers, her voice thick with emotion. “I… I look beautiful.”

He nods, an unnamable look in his eye, and she swears she hears a mumbled, “You’re always…” before he trails off, dropping his gaze to his lap. He subconsciously squeezes her hand once before letting it go, instead occupying his hands with putting everything away.

“You really did do a good job, Mulder,” Scully speaks after the somewhat awkward silence had persisted long enough. “Have you done this before?”

With a zip of her makeup bag, Mulder looks up at her with squinted, suspicious eyes and jokes back, “What me and the Lone Gunmen do on our boy’s nights is none of your business.”

Scully laughs, amused by the imagery that conjures. Never one to be thrown off, however, she persists. “Well, someone must have taught you,” she declares, raising an eyebrow in his direction. “Who was it?”

She gets a devious look in return. “I’ll never tell.”

-.-.-

As Bill pulls into the driveway after his wild-goose-chase trip to the drugstore (“You made me look like a fool, Mom!”), Margaret Scully greets him, sliding into the passenger seat with a bag full of goodies for her daughter.

He seems to finally be getting over his mother’s betrayal by the time they arrive at the hospital. They walk in, accepting visitor’s badges which they stick on their shirts before taking the elevator up to the oncology ward.

Bill’s admonishing tirade, which had persisted throughout most of the car ride, lingers on between intervening silences as they make their way down the hall. Once they approach Dana’s room, however, Maggie shushes him, holding out an arm to stop him.

Through the window, she sees Mulder setting a tube of mascara aside and exchanging it for lipstick. Bill’s curiosity gets the best of him, and he leans over his mother’s head to see for himself what it was that made his mother pause.

“Let’s give them some privacy,” she says, putting a guiding hand on her oldest son’s arm.

Inside the room, Mulder pulls back, and Bill can see even from this angle how his cheeks widen in a smile. His sister looks like herself again, and he doesn’t miss the shine of tears in her eyes, or the wobbling smile on her lips. Since they were children, he has kept a careful eye on her, monitoring her emotions, the protective big brother that he is.

And that’s why now, he understands. He hadn’t realized before, his own fault for not wanting to believe it.

His sister isn’t being dragged through hell by a sadistic partner, bent on destroying her life and everything she holds dear in one fell swoop. No. The truth is that she does it willingly, walks by his side through even the darkest shadows.

Because Dana is in love with her partner.

And he is undeniably in love with her.

The pieces slowly come together in his mind, everything he knows about Fox Mulder. His mother must have seen it long ago, hence her willingness to help him this morning. And he would have stood in the way.

The thought fills him with shame.

Mulder’s love for Dana goes so far beyond what Bill himself knows about love, that he had almost missed it entirely. What a blessing it is for his sister to experience it, for however brief a time.

With one final glance into the hospital room, Bill allows himself to be pulled away and toward the cafeteria.

“You see now, don’t you, Bill?” his mother asks as they walk, her eyes looking to him hopefully.

He nods, feeling his throat close up with unexpected emotion.

“Yes,” he answers. “I do.”

-.-.-

An hour into Mulder’s in-depth explanation (and diagramming) of the anatomy of dinanthropoides magnipus, otherwise known as “sasquatch” or Bigfoot, someone gently taps on the door.

“Come in!” Scully calls out, thankful for the reprieve.

“I hope we’re not interrupting…” Margaret Scully says as she enters, followed closely behind by Scully’s brother.

Mulder scoots back in his chair, shuffling the papers he’d strewn about and trying his best to fade into the background to provide them some privacy.

“Not at all,” Scully says, and she’s sounding better already than she has since they’d gotten here. “I’m glad you came by. Bill, I didn’t know you were in town.”

Bill clears his throat and steps forward, looking a little uncomfortable but otherwise happy to see his sister.

“I had a few days’ leave. Tara and I decided to make a weekend of it.”

Scully nods and looks between her brother and Mulder, realizing they’d never actually been properly introduced. She hopes they’ll both behave. Lord knows she’s told Mulder enough about Bill over the years, and she’s very familiar with her brother’s opinions about her partner.

She coughs. “Oh, uh, Mulder, this is my brother, Bill. Bill, this is Mulder.”

The two exchange an odd look before Mulder stands, and Bill meets him in the middle with a firm yet friendly handshake.

“Nice to meet you, Mulder,” Bill says with a pointed look, not at all unfriendly.

Mulder nods with a funny half smile. “Likewise.”

There’s another look exchanged briefly before they let go, returning to their respective awkward stances.

“We wanted to bring you some new magazines,” Maggie speaks, carrying a tote bag over to Scully’s bedside. “And Tara sent us with some crayons and coloring pages, in case either of you gets bored.”

Scully smiles, her fingers dragging the corner of Mulder’s silly sasquatch diagram out from its hiding place under a stack of other papers.

“I’m sure Mulder will appreciate being able to enlighten me on the specific coloring of Bigfoot’s spleen,” she says teasingly, and Mulder briefly wishes he could disappear, fearing the look on Bill’s face.

When he looks up though, both son and mother are smiling in amusement, not a hint of malice on Bill’s face.

Maggie leans in to place a kiss on Scully’s cheek, holding her daughter’s hand in hers.

“You’re looking like you feel a bit better,” she says as she pulls away, brushing her fingers over her brow and pushing back a lock of hair. “Lovely makeup, too.”

 With these last words, she looks to Mulder and—discretely—winks.

“Doesn’t she look beautiful, Fox?” Maggie asks, goading him knowingly.

He rises to the challenge, his eyes finding Scully’s and holding.

“Beautiful as always.”

-.-.-

The TikTok video that inspired this made me sob uncontrollably, so I hope I captured some of those same emotions here. I beg you to go watch the video too, but have tissues at the ready. It seriously hasn't left my mind since I saw it the other day. I hope we all have the chance to find a love like that in this lifetime.

Tagging some people: @today-in-fic @teenie-xf @cutemothman @queenlovett @tygertygerfoggybright @baronessblixen

If you ever don't want to be tagged by me, just let me know! You won't hurt my feelings. Alternatively, if you want to be tagged if/when I write more X-Files fics, let me know and I'll make a list!

[lesbianreinaa]

“the emerald haunting of dana scully” 🕯️🖤🪦

part two of the series “a cleaved heart” | the sequel to “amethyst of the heart” 🩶

Two years after we leave them, Dana and her family travel to the Scully Manor in America when her mother falls gravely ill. Upon returning home, she is faced with the past lives of her loved ones, chilling ghosts, and a haunting that she cannot comprehend. The skeptic among them becomes the believer, and they all must find the belief in the unexplainable to survive.

read HERE on ao3!

[darkesttimelinestuff]

"Fine, explain it to me."

Day 9 of Fictober

Prompt #15 - "Fine, explain it to me."

Even though Assistant Director Skinner had explained the extremely unusual and grave situation to Maggie, had told her that her youngest and only remaining daughter had given up her life and career and run off with Mulder, now accused of heinous crimes, she still couldn’t believe what she was hearing. Mr. Skinner had visited her house when it first happened. He’d been very kind and patient and understanding, especially when she became frustrated and angry. He was good at his job and, as he left, she apologized to him. After all, Dana’s choices were not his fault.

Maggie had visited her daughter’s apartment, stayed there for days. Dana never came home. She was really gone. First William had been sent off with another family, and now Dana and Fox left, growing the hole in her heart.

It was nearly three months before Maggie heard from her daughter. 

“Mom?” Scully’s voice sounded tinny and distant in the receiver. “Mom, can you hear me?”

“I’m here,” Maggie said, trying to keep the anger out of her voice.

“I’m so sorry, Mom.”

“You’re sorry?” she said. “Dana, when will I see you again? Are you sure you’ve made the right decision? It’s not too late to come home. Mr. Skinner came by and explained it all to me. Just come home. Your job, your family, is here. Please come home.”

Dana sniffed into the phone. A car alarm went off somewhere behind her. 

“You don’t understand,” Dana protested.

“Fine, explain it to me,” Maggie demanded harshly.

An automated operator prompted, “please deposit $.35 to continue this call.”

Maggie heard Mulder call to Scully.

“I have to go, Mom,” Dana said in a strained voice. “I’ll uh… I’ll call you again soon.”

“Wait!” Maggie called into the phone. “Where are you? Just tell me where you are and…”

But she heard a click and then the ringtone. Dana was gone again.

[frogsmulder]

When Scully got her cancer diagnosis, she would have updated her will and how willing are you to bet Bill was pissed when he saw it was mostly Mulder and their mom in it

[xfiles-vibes]

A heads up for any of my X Files moots who were reading my post-colonization fic “A Quiet War”. Due to the response I’ve gotten, I’ve decided to move the vignettes to just be additional chapters in the overall fic, which can now be found here.

That being said, if you’ve left comments on kudos on either the Skinner or the Lone Gunmen vignettes, please know that those kudos and comments will be lost going forward as I merge the vignettes with the ongoing fic. So, please don’t be alarmed if your comments and kudos were visible one day and suddenly aren’t! I’ve taken screenshots of all of them so I can still keep track.

[skelavender]

im rewatching ascension (again) and thinking about mulder and maggie (again), specifically when he first meets her and reaches out to put his hand on her shoulder. i dont think we've see him being particularly touchy with anyone other than scully at this point, but here's a woman he has never met before, who is an extension of his friend, his friend who was just taken from him, and his first instinct is to reach out and touch her to comfort her. he's only stopped by the blood on his hands.

[stephy-gold]

Back with the fact that blow my mind a few weeks ago (Dana scully is the same age now as Maggie scully was in 1993 or 1994 when Dana was abducted in Duane Barry)

I did some research and found that according to script Maggie Scully was 58 at beyond the sea (1x13) so when Dana abduction happened in Duane Barry (2x5) Maggie must be 59-60, give it or take.

(If she was 58 at beyond the sea that would mean she was born in 1935??? And that she died at age 79-81??? in Home again 10x4)

in 2023 Dana Scully turned 59 years old, more less, the same age her mother was when her abduction happened.

And if you want your heart broken you can acknowledge the fact that if emily lived she would’ve been 29 also this year 2023, same age her mom (Dana scully) was when she was abducted.

[randomfoggytiger]

The Scully Family In-Depth (Part XIV): When Nature Turns So Cruel

Leading into the cancer arc, Scully begins to grapple with the bigger questions: her place in Mulder's life, and what she wants that place to be.

In Season 4, not only does Mulder express himself more openly-- crying on her shoulder for the first time in Herrenvolk, voicing his fantasy of a better life in Home, relying on her completely in Teliko, anguishing over soulmates in The Field Where I Died, hugging her proudly in Terma, leaning on her solely in Paper Hearts-- but the cases themselves no longer bear a passing resemblance: they directly mirror her current experiences. It creates an inescapable glass to look into and constantly compare with: which decisions led her here, and how (and if) she can escape them.

The files are Scully's job, but her loyalty lies with Mulder (her vow in Tooms proves that quite clearly); and insecurity over that loyalty harkens back to her childhood dynamic with the late Captain Scully: "There are other fathers," she tells Ed Jerse darkly in Never Again.

However. I wanted to focus this analysis on the slowly begun but quickly ended arc supplanted by Never Again and the events after Memento Mori.

THE HEART OF THE HOME

Home is a complex episode, factoring in not only Scully’s family dynamics but Mulder’s as well (to be discussed at length another time.)

After the closeted baby autopsy, Scully and Mulder walk out of the sheriff’s department just as a happy family and their giggly baby stroll by. Scully’s first remarks, however, are filtered out through the lens of mangled hopes and cruel twists of life. 

“Imagine how a woman’s hopes and dreams for her child, and then Nature turns so cruel. What must a mother go through?” she ruminates in a distanced tone, indicating that this is the first time she's given serious thought to the subject.

What must a mother go through particularly stands out: Scully hadn’t forayed into these maternal or domestic waters before, it seems-- working hard to achieve medical school, then a doctor’s degree, then recruitment, then field agent with the FBI’s best and brightest. In The Jersey Devil, she was shown to be good with kids; but it was Ellen who pushed her towards planning the next step, and Scully who stated she’d need a man first. So, Dana Scully is over three years in on the files with at least three relationships under her belt (discounting Ethan Minette and whatever she and Mulder have) but still hadn’t paused to ponder or plan what motherhood and its hopes and dreams would hold for her… until today. And to have this brought to her attention now, during these dire circumstances, hits closer to home than Scully would like. 

“Apparently not much in this case if she’d just throw it out with the trash,” Mulder counters, quietly waiting for his partner’s response when she maintains eye contact while slowly sitting down.

Scully remains/is momentarily silent, sorting through the real reason this case and these hopes are so impactful. 

“I guess I was just… projecting on myself,” she admits-- vulnerably honest.

Mulder is immediately puzzled and concerned-- and his first question isn’t 'You want kids?' but instead, “Why, is there a history of genetic abnormalities in your family?” It’s a blend of his usual curiosity, morbid fascination, and something else. 

Scully picks up on that something else, “No”ing his question softly and staring at him with more personal interest. 

He then gives her a crack-- “Well, just find yourself a man with a spotless genetic makeup and a really high tolerance for being second-guessed and start pumping out the little uber scullies”-- a smile, and a light backrub to soothe away any lingering worries.

In a turnabout equal to an Olympic gold medalist, Scully twists the question around on him: “What about your family?” 

“Hm?” Mulder responds, testing to see if his nonanswer will shake her off his tail. 

It doesn’t: Scully remains locked onto his face, expecting a straight answer. One might say, needing one. 

“Well, aside from the need for corrective lenses and the tendency to be abducted by extraterrestrials--” here Scully turns away, grinning to herself over Mulder’s Mulderness reasserting itself, “--involved in an international governmental conspiracy--” here a shade of disappointment passes over her face, “--the Mulder family passes genetic muster,” here he finishes, adding a comedic muscle flex to farm a smile from his partner.   

She smiles, soaking in his unspoken subtext. 

In his own way, Mulder has stated exactly where he stands: he can fantasize about settling down in a place like Home, tease her about pumping out the uber scullies, even include his family genetics in with the joke, but all under the context of hypotheticals. Mulder can’t have a normal life until he’s righted the wrongs of his past, saved the world, and gotten the girl. (It’s not until The Unnatural and Amor Fati that he finds "the mystery of the heart" and "another life, another world" can coincide with this one.) Most importantly, Mulder himself is not ready: playing with a baseball while she takes notes, bantering about family history while Scully turns reflectively inward, planning for unreachable hypotheticals (with her in them, yes, but unreachable all the same), and joking them both out of more dangerous, personal topics they've yet to address.

Scully is amused at his antics; but she is also searching for something from him he can’t (she assumes) provide. It’s wisest not to take his oddities or indiscretions personally, to smile over his endless unquenchable, unattached zest for life; but there is a loneliness-- one that is a choice-- that feels isolating, that leads her to question her own choices and outcomes (i.e. Never Again, Milagro, all things.) “You are Ahab”, she told him once on a rock; and her self-inflicted sacrifices to that cycle (posts here and here) stem back to being Captain William Scully, Sr.’s best first mate-- “There are other fathers”, after all. 

Mulder watches her closely; and, sensing her withdrawal, opens up, revealing that he does, indeed, understand more than he lets on.  

“Scully, that child inside is a tragedy." It's a simple statement spoken with feeling; and Scully responds to it.  

But his theory over young, scared kids abandoning their unwanted child switches her gears; and she pivots their conversation quickly into her disagreements. 

For the second time, family talk pops up in Mayberry. 

Scully, having wrapped up the adult conversation for the night, glances over at her boy-in-a-thiry-some-year-old-body partner wrangling with the fuzzy tv set, smiling in spite of herself.  

At her approach, Mulder puts distance between them-- but not because of romantically blurred lines, no, no; but because she might mess with the static on his chosen channel. 

Thoroughly unimpressed, Scully cracks, “You still planning on making a home here?” 

“Not if I can’t get the Knicks game,” he deflects, pointing the antennae carefully at her forehead for maximum kid antics. 

Having had enough for the night, she walks off.  “Well, just as long as brutal infanticide doesn’t weigh into your decision.” 

He picks up on, and is annoyed by, her undercurrent of condescension, shooting a “Goodnight, Mom,” parting shot. 

Scully is pulled up short, her eyes asking if he’d said what he’d said and challenging him to repeat it. Mulder turns away-- not interested in further petty sniping but refusing to give up the ground he’s gained. 

She doesn’t call his bluff, deciding to drop further antagonism and just go to bed. 

However, there is a snag. 

“Mulder, this lock is broken,” she says, head down as she fidgets it back and forth.  

Her partner whips back around, lowering his arms for the first time in a defensive, attentive position. He plays it off with a joke-- “You don’t have to lock your doors around here”-- and Scully buys it; but his posture reflects how aware he is of the sudden lack of boundaries in this cozy, folksy, family-livin’ town. 

After she shuts the door behind her, Mulder doesn’t stop looking at the lock (visibly weighing his options by stretching out the antenna.) Blinking away his thoughts, he moves quickly over to the table, grabbing and wedging a chair under the opportunity of temptation. 

If that’s not symbolism for the next few years for Scully, I don’t know what else is. 

The third mention of family-- specifically, of Scully’s family-- occurs in the Peacocks’ field. 

“There some secret farmer trick to gettin’ these things moving?” Mulder grunts, giving another forceful shove against the mountain of pigs they have to move. 

“I don’t know,” she whispers, exasperated, before receiving a stroke of genius. “Na ram you!” she warbles, louder for the second, “Na ram you!” 

“Yeah, that’ll work,” Mulder pipes from behind a particularly large hog. 

“I babysat my nephew this weekend,” she explains, applying more force to the hind quarters in front of her. “He watches Babe fifteen times a day.” 

“And people call me ‘Spooky’.” 

Besides a cameo in Beyond the Sea, this is the first canonical reference Scully has made to her nephew. Although there was a profound lack of show bible on The X-Files, the details-- or lack thereof-- that they retained are interesting to gnaw on. 

As discussed in the previous parts here and here, Scully’s two brothers were at her father’s funeral with their wives; but as we know in A Christmas Carol, Bill Scully has yet to have children (unless one got bushwacked and we were never told.) If that’s the case, then nephew Scully has to be Charlie’s boy… which leaves the other boy at the funeral unaccounted for. (Is he Forgotten Nephew? Step Nephew? Who knows?) 

Once inside the house, Mulder zeroes in on an Elvis Presley article and Mrs. Peacock’s skid marks while Scully pieces together who Mrs. Peacock is-- another example of their disparate frequencies. 

“Mrs. Peacock?” Scully begins. “Mrs. Peacock… you are in immediate need of medical attention. Agent Mulder and I are here to help you.” 

“This is our home! Why leave it?” 

After the argument for medical attention leads them nowhere, Mrs. Peacock stares into the middle distance, fondly (and a bit lustfully) talking about her sons. “They’re such good boys.” 

“Mrs. Peacock, they murdered Sheriff Taylor and his wife. And Deputy Pastor.”

Fired up, Mrs. Peacock rebukes, “I can tell you don’t have no children.”

Scully withdraws, a mixture of stinging confusion and horrified disgusts playing across her face.    

“Maybe one day you’ll learn,” the matriarch continues, “the pride. The love. When you know your boy would do anything for his mother.” 

Disgust outweighing everything, Scully looks away and licks her lips to compose herself. 

Then the boys break in; and chaos ensues. 

There is no resolution here about family for Mulder and Scully, the topic and undertones being dropped in favor of a death brawl and subsequent escape. But mothers and their children, death and loss ties very neatly into her and her mom's conversation in Memento Mori. Nature’s cruel twists of life, uh, find a way. 

REMEMBER DEATH

While not tangentially related to the Scully family, her opening monologue in Memento Mori sets the stage for Scully's equal parts reticence and openness in the cancer arc, culminating in the interactions between her, Maggie, and Bill in Gethsemane and both Redux episodes.

"For the first time I feel time like a heartbeat. The seconds pumping in my breast like a reckoning. The ruminous mysteries that once seemed so distant and unreal threatening clarity in the presence of a truth entertained not in youth, but only in it's passage.' I feel these words as if their meaning were weight being lifted from me, knowing that you will read them and share my burden as I have come to trust no other. That you should know my heart, look into it, finding there the memory and experience 'that belong to you, that are you, is a comfort to me now as I feel the tethers loose and the prospects darken for a continuance of a journey that began not so long ago, and which began again with a faith shaken and strengthened by your convictions. If not for which I might never have been so strong now as I cross to face you and look at you incomplete, hoping that you will forgive me for not making the rest of the journey with you."

Scully is diagnosed with brain cancer; and calls Mulder to jump headlong into an investigation regarding the dying MUFON women she’d met last year-- all without calling her mother or family first. We find out in Gethsemane that she hadn’t wanted any of her family told, and are left to assume Maggie found out only because of how debilitating Dr. Scanlon’s chemo treatment was expected to be. Their confrontation here is extremely telling: it reveals how much Maggie relies on her daughter, how aware Scully is of this, and how the chasm between them begins to grow as Scully attempts to always be her mother’s “strong one.” 

Scully tells Mulder she needs him to bring over her travel bag and “to call my mother and ask her to bring up some things to the hospital.” 

Thus enters Maggie: hurt and angry and terrified. “Dana!” she greets, soft and breathless. 

“Hi, Mom,” Scully responds, her voice younger as she slips back into mother-daughter comfortability.

Overwhelmed, her mother waits until Scully introduces her to Dr. Scanlon, then begins rambling. “I drove,” she explains, trying to disguise the shake in her voice by talking a bit faster. “I was gonna take the shuttle but it’s only an hour or more by car. Can you imagine?” Dropping off her bag, Maggie draws back to her daughter’s bedside while nervously fiddling with her ear and sniffling. 

“Mom, I’m fine,” Scully assures.  

At that, Maggie’s face drops-- perhaps relief, perhaps fury at Scully’s denial. Or both.

“I’m going to be fine-- I’m just here for treatment,” Dana continues, gracefully gliding over the change of expression. When Dr. Scalon announces his departure, she gives him a tight, polite smile, well-trained and mannered even in a crisis.

Maggie, however, doesn’t react, letting the man pass without so much as a cursory glance over. 

The two Scully women are alone; and Dana shifts her eyes away, then drops her head, steels her shoulders, and lifts her eyes back up to Maggie, anticipating a storm. And she's right. 

“Mom, I know what you’re gonna say, but… I don’t have any experience being sick,” she stalls, knowing her mother’s wrath is coming in hot. 

Maggie remains silent, taking off her coat and folding it with heavy, precise movements while looking down.  

Scully scoots froward, trying to reassure her with a little, unconcerned shrug.  

Looking up, Maggie locks eyes, holding herself tightly. “I don’t know why you didn’t tell me.”

Embarrassed and guilty, Scully looks down, swallowing as she prepares herself for what’s coming. 

“I don’t know why you didn’t tell me immediately!” her mother explodes, betrayal radiating from her stiff spine and locked jaw as she slams her coat on her purse.  

Chastised, Scully looks down once more, willing to let Maggie vent the anger that has accumulated since Mulder’s call the night before. It takes the wind out of Mrs. Scully’s sails; and she folds in on herself, trying again to regain control.   

“I wanted to get all the answers first,” Scully says, quietly; and Maggie walks over slowly, nodding as she takes a closer stand by her daughter’s side. 

“And you found them here?”

Scully hasn’t. “I have found some clarity,” she cryptically replies. “And maybe a way to fight back.” With that, she raises her head and waits for her mother to look back at her again. 

Quite the interesting shift we observe here: we the audience know Scully always run to Mulder-- or Melissa-- before her mother (i.e. The Blessing Way and A Christmas Carol, respectively); but Maggie, it appears, wasn’t aware of this dynamic. To Maggie, her baby girl always came to her first for love and advice or council; and she doted on her baby accordingly. She likely didn’t support Dana’s transfer to the FBI but still helped mend her daughter and her husband’s relationship; she trusted her youngest daughter’s judge of character in Fox Mulder, Albert Hosteen, and Walter Skinner (posts here and here); and she talked her daughter down from a paranoid episode when Dana ran to her for safety (post here.) But last night, she found where she placed on Scully’s priority list: second, if unavoidable. And that crushed her.  

Flexing her jaw against the trembling in her lips, Maggie finally looks back at her daughter. “I don’t want to be kept in the dark,” she warns, refusing to let the matter rest, no matter how much Dana is skirting it. 

Scully lets a bit of her control go, allowing a shade of vulnerability to peer through her eyes. “I know, Mom.” 

Maggie, unable to hold back her fear any longer, covers her mouth before leaning in for kiss on the cheek. 

Unable to keep her own self-control complete once enveloped in a hug, Scully almost cracks, clutching desperately at her mom’s shirt for a split second to battle away the impulse to cry. 

“You have always been the strong one,” Maggie affirms: a blessing and a burden for Dana Scully. Beginning to sob, she adds, “But you are my only daughter now.” 

“I know,” Scully answers, resolved. 

To Maggie, strength is not separate from open emotions, tears, and vulnerability; but to Scully, fragile emotions are akin to weakness. This, therefore, places mother and daughter in opposite positions-- mother wanting to share in grief and weakness, and daughter wanting to shield them both against it. Maggie desperately wants Scully to open herself, needing that mother-daughter relationship she has only with Dana now; and Scully desperately seeks to avoid that openness, viewing it as dangerously unstable territory while she gathers strength to help her loved ones. 

In canon, it's hard to find Scully harboring blame for Melissa's death after her initial burst of blame in Paper Clip. The knowledge that her sister was killed in her place must weigh heavily; but inferences have to be made about the level of guilt she carries, if at all. She was given a form of closure by turning in Luis Cardinale-- though imperfect, since his was killed before facing justice-- and we know she has fond memories of her sister in A Christmas Carol and a shade of remembrance in all things. Most often, the body count of the mission falls on Mulder's shoulders, with Scully firmly convinced the men who pull the trigger are the ones that bear responsibility.

Knowing all this, it would not, however, be easy to face her mother's pain and fright after her abduction, disgraced disappearance, sister's death, and government-inflicted brain cancer.

Maggie Scully breaks down, clinging to her daughter in anguish.

CONCLUSION

There is none, really-- other than the knowledge that this mini arc pales in comparison to the other family work tackled in Season 4.

Thanks for reading~

Enjoy!

[agent-troi]

Maggie: Why is Fox crying on the floor? Melissa: He's drunk. Maggie: And? Melissa: He saw a picture of Dana’s husband. Maggie: But he's Dana’s husband. Melissa: I know.

[gaycrouton]

The X-Files: Each Main Character's First and Last Line In The Series ✨

Entries with an asterisk signify the character’s last line was spoken posthumously.

DANA SCULLY

Pilot (1x01): “Agent Dana Scully.” 

My Struggle IV (11x10): “It's more than impossible.”

FOX MULDER

Pilot (1x01): “Sorry, nobody down here but the FBI's most unwanted.”

My Struggle IV (11x10): “That’s impossible.”

WALTER SKINNER

Tooms (1x21): “Agent Scully, we have reviewed your reports and frankly we are quite displeased.”

My Struggle IV (11x10): “All right, hold on.”

THE CIGARETTE SMOKING MAN

Young at Heart (1x16): “Where are they?”

My Struggle IV (11x10): “Then you don’t know me very well.”

ALEX KRYCEK

Sleepless (2x04): “Agent Mulder?”

*The Truth (9x19/20): “They'll kill her.”

JOHN DOGGETT

Within (8x01): “Water? It could be a wait.”

The Truth (9x19/20): “Get in the car.”

MONICA REYES

This Is Not Happening (8x14): “Hi.”

My Struggle IV (11x10): “No!”

MELVIN FROHIKE

E.B.E. (1x17): “She’s hot.”

*The Truth (9x19/20): “All you're going to do is get yourself killed.”

JOHN BYERS

E.B.E. (1x17): “And, Mulder, listen to this.”

*The Truth (9x19/20): “You already know the truth.”

RICHARD LANGLY

E.B.E. (1x17): “So, check it out, Mulder, today I had breakfast with the guy who shot John F. Kennedy.”

*This (11x02): “Mulder...”

TEENA MULDER

Colony (2x16): “Hello?”

Sein und Zeit (7x10): “So much that I’ve left unsaid for reasons I hope one day you’ll understand.”

MAGGIE SCULLY

Beyond the Sea (1x13): “As if he’s an authority on having a good time.”

Home Again (10x04): “My son is named William too.”

WILLIAM SCULLY / JACKSON VANDEKAMP

Existence (8x21): “Wah, wah!”

My Struggle IV (11x10): “I don’t think you can do it.”

Video Compilation