#MAGGIE SCULLY

[fringephile]

I'm just going to die here today.

The way she opens up and actually says things.

The way she says "mom" and not "my mom".

The way she says Fox.

The way he sits quietly and lets her talk.

The way he comforts her.

Maggie's ashes. 😭

[aloysiavirgata]

Prompt idea: Scully in a wedding dress, but she’s not getting married.

She swishes experimentally before the mirror, a sad smile on her face.

“She imagined Missy wearing it, then me. Poor Maggie.”

Mulder watches her the way he watches the bird feeders on the lawn.

“Poor Maggie,” he echoes, gazing.

Scully fluffs yards of watered silk over the stiff crinoline, her already slender waist appearing barely a handspan above the vast skirt of the dress. Even without the lingerie of the time, the rigid bodice gives her breasts a conical, Jane-Jetson, atomic-age shape.

Mulder digs it, a new Scully fetish unlocked.

Her hair is twisted up in a messy bun but she is still Grace Kelly elegant. Liz Taylor, Audrey Hepburn, in that rich ivory gown. That rich copper hair, frosted with a long, cobweb veil. Scully touches the tiny buttons at her slim wrists.

“I’m sorry, Mom,” she murmurs. Smoothes the tulle at her temples. “It just didn’t work out.”

Mulder, in slouchy olive joggers and a navy Roots hoodie, holds his arms out for a dance.

Scully laughs, wrinkles at the corners of her hydrangea eyes, at the corners of her ranunculus mouth. “There’s no music,” she says, already leaning in to him.

God she’s lovely. Lovelier than ever she was in her twenties.

“I always hear music with you,” he says, draws her close. He spins her, and she’s crying a little and laughing, under the Strawberry Moon.

[nachosncheezies]

My unpopular hot take is that I don't think Maggie Scully is nearly as open and warm and purehearted as fandom likes to think she is

[randomfoggytiger]

The Scully Family Actors' Thoughts on Their Characters

Found some incredible tidbits.

All quotes taken from this October 1995 interview (which was written before Melissa Scully's death.)

THE CONCEPTION OF BEYOND THE SEA AND ONE BREATH

The conception for “Beyond the Sea” originated with a desire on the part of scripters Glen Morgan and James Wong to write a “Scully episode” with the goal that such a story would both highlight Gillian Anderson’s acting ability, and humanize the dour Scully. They believed the best way to achieve that was to tie the episode’s X-File case to her in a personal way: by introducing her parents and having her father die before the teaser ended, and then linking her need to speak once more with her father to a psychic prisoner on death row.

Morgan recalled that, “In the pilot, Scully mentioned that her parents didn’t want her to become an FBI agent. We found that interesting. So many people want their own lives, and yet need their parents to accept that life, and we thought it seemed to be a common phenomenon around us. So we put it into the story and hoped it would connect with people. And we thought maybe Scully’s parents lived in Washington. And if they live in Washington, what could her father do? It was kind of obvious to us he was in the government and we put him in the military. Then we thought, ‘OK, he has to be a higher rank, a Navy captain’s kind of neat. And we just worked backwards from that.”

“Melissa was someone who had to understand Scully and yet be different to challenge Mulder’s actions,” said Morgan. “Who better than a mother or a sister? Considering where Mulder was at that time, we thought it would be interesting to see Mulder’s reaction to a believer of ‘positive’ ideas. So, again, it was a character that was created from the needs of Mulder and Scully’s characters.

CAPTAIN SCULLY, DON DAVIS

“The character is very similar to Briggs on Twin Peaks,” Davis noted. “William is a military man who, although he loved his child deeply, was unable to verbalize that love until it was too late. ...this was a guy who was at the top of his field and the way he showed his love to his family was to give his children an example to follow and to provide them with great security. That’s kind of where I started off from with the character.”

Although William had died, on The X-Files anything can happen, and he reappeared in “One Breath” to deliver to the comatose Scully the paternal message she had longed for in “Beyond the Sea”. Davi[s] said that director Bob Goodwin’s concern was that his monologue would not “become maudlin. He wanted me to be on the verge of being overcome, but he didn’t want it to happen. He wanted the character to be strong, to be very much the man that had fathered Dana. So what I tried to do was to show a man holding himself in, a man who was filled with emotion but who, as a military man, controlled the emotion. We did a few takes and each time Bob was bringing me down.”

MAGGIE SCULLY, SHEILA LARKIN

Scully’s mother Margaret was portrayed by actress Sheila Larken, and in the X-Files world, where almost everyone has a hidden agenda, Larken’s maternal warmth and sincerity was a bright spot within all the bleakness.

Larken was reluctant to take on the role of Margaret Scully.... Her hesitation stemmed, she said, from her own father’s death the year before from a heart attack.

“It wasn’t really something I really wanted to do or pull up,” she said. “But I did it anyway. I never thought the part would repeat. My interpretation when I did that scene at the funeral was of a woman so involved with her own pain, she couldn’t even react to what her daughter was asking her. And they allowed that, even though the daughter was the lead in the show.”

Larken saw Margaret as “a military wife, married before I graduated college, someone who never gets to finish her college degree or find a career for herself, but mainly gets enmeshed in her family. You know, the Everymother. Part of her emergence in becoming self-sufficient was during the course of this show with Dana. I think Margaret is ever-evolving. ”

Larken’s favorite scene came in “Ascension, ” when Margaret and Mulder meet at a park and talk about the missing Scully. “You explore a scene and try to find what you’re thinking, and what you’re not thinking, and that one just jelled together. There were just so many little itsy-bitsy things that came together and they came together on camera.” She found working with Anderson and Duchovny to be a particular treat. “Their depth is multi-layered. A lot of times you work with actors, and when you look into their eyes, they’re a blank. You’re working alone. But when you get to work with Gillian and David, whatever you send is received and vice versa.”

Larken said that as Margaret she usually does not draw on her own experience as a mother, because “it’s almost too vulnerable to let in. ” She did admit to an exception: “There’s one scene where being a parent did work. In ‘One Breath’ where Margaret says to pull the plug on her daughter, Mulder doesn’t want her to do it. He moved away on me, and I called him his first name. I just went, ‘Fox!’ I could hear that ‘mother’ voice. And David stopped cold, he stopped in his tracks. It was like the voice of every mother; in that sense, the mother did come through.”

MELISSA SCULLY, MELINDA MCGRAW

Coincidentally, McGraw said, she brought up the idea of making Melissa a psychic, and found Morgan and Wong had already had the same thought.

McGraw felt that Melissa “was the black sheep in this family, probably a very difficult teenager, in trouble, very curious. She experimented, I’m sure, with drugs and boys, was very political and was always a bit left of center and always pretty conscious of developing her psychic ability.”

Morgan and Wong had also played around with making Melissa a girlfriend for Mulder, and although that idea was jettisoned, McGraw said she felt the element of attraction was still there, “Certainly from Melissa’s side. We had talked about that, and I think that for various reasons it wasn’t to be. Mulder had just had a romance the week before (in “3 “).

McGraw felt that in the end, it was a good idea that the relationship “didn’t go that far, because that left grounds for something later. I think they wrote Melissa in a neat way, because she wasn’t all pure and light. She had this dark side to her, and this slightly jealous side, of being jealous of Dana.” But, she concluded, there is also a “total love. The bond of sibling love is so intense. It’s an age-old dramatic theme, and it’s one of the greatest loves that human beings have. It’s undeniably bigger than any other connection, because you’ve shared not only the same parents, but the same actual physical experience of being born to that mother.”

CHARLIE SCULLY, a Note

Since McGraw's vision lined up neatly with Morgan and Wong's, I find it interesting that she (indirectly) groups Charlie Scully with the rest of the "normal" Scullys-- as if he, too, were a "God and country" man like Capt. Scully, Maggie, Bill, and Scully herself.

CASTING

Director David Nutter cast Don Davis, familiar to genre viewers as Major Briggs in Twin Peaks, as William Scully, and Sheila Larken as Margaret Scully. “Scully needed to have a father and mother both of real strong qualities and charisma and three dimensions,” he said. “I felt that Don David and Sheila Larken would bring the required weird to the parts.”

Nutter had worked with Davis previously on several shows, including Broken Badges, and called him personally to ask him if he would accept the role of William Scully, despite its brevity.

David Nutter had met Larken when he auditioned her for his 1985 film Cease FIRE, and although he didn’t cast her, she made an impression on the director.

Larken’s husband, X-Files’ co-executive producer Bob Goodwin, mentioned her at one point to Nutter, and Nutter immediately thought of her for Margaret. “She was perfect. She was the one, and I hired her.”

The arrival of Scully’s sister Melissa, in ‘One Breath’ was an unexpected one. Scully’s two brothers, of whom she spoke in ‘Roland,’ were glimpsed in “Beyond the Sea” and were seen as children in a flashback of ‘ One Breath.’ Yet the sibling who turned up in that latter episode was a previously unheard of sister, Melissa, played by Melinda McGraw. 

"Most importantly, we [Morgan and Wong] wanted to write a good part of Melinda McGraw, with whom we shared a frustrating time on The Commish.”

TRIVIA

In between “Beyond the Sea” and “One Breath” Davi[s] made an uncredited, off screen appearance as a dialogue coach for “Miracle Man.” As a native of the Ozark Mountains region, and a former theater professor, he lent his expertise to the guest cast to help them properly pronounce Southern accents.

The New York native [Sheila] had left acting several years ago and had obtained a master’s degree in clinical social work. But after moving to Washington state with her husband, X-Files’ co-executive producer Bob Goodwin, she found herself busy with acting offers.

McGraw enjoyed playing a softer role after several years as a police detective. “It was really great for me to play a different character,” she said.

LASTLY, AN ANECDOTE

From the compiler:

I once had the opportunity to ask what Glen Morgan thought about Chris Carter killing off Melissa Scully.... He told me that most networks have what’s called “character payments”. If a character that a writer created returns in another episode, they get a couple hundred bucks. This doesn’t happen on FOX, so there goes any cash for the Lone Gunmen, Skinner, Tooms, Scully’s Ma…etc. “If we did get character payments, I would have been more bummed that they killed Melissa...."

Thanks for reading~

Enjoy!

[mytardisisparked]

I wrote a lil something X-Files flavored for Mother's Day. @singeart and I were talking about Maggie and Mulder and their dynamic and here's the result :)

Read on AO3

Other Mothers; Other Sons

The second her mother’s door was open, Scully felt herself being engulfed in a tight hug. She smiled and did her best to return it with equal vigor, even with her arms pinned to her side.

“Hi Mom. Happy Mother’s Day.”

Maggie Scully pulled back, still holding her daughter by the shoulders. “Thank you Dana.” The genuine joy and gratitude in her eyes was almost overwhelming. After a moment, she released Scully and took a step back towards the door. “I’m almost ready to go, do you mind waiting just a moment while I finish up?”

Scully shook her head and they went inside. 

“Don’t get too comfortable!” Maggie threw over her shoulder as she breezed towards the bathroom. “I’ll be 2 seconds!”

“Okay.” Scully smiled after her. She lingered in the kitchen, looking at a couple of new pictures of Charlie’s sons on the fridge - he must have sent them in a card. The two boys were grinning wildly at the camera in that way that children do, with no regard for how much is too much. It made Scully smile wider herself. 

She turned to the rest of the kitchen and her eyes landed on a large bouquet of lilies and baby’s breath on the table. Those must be from Bill. Or, more likely, his wife, she thought. She stepped forward and, in a moment of petty, sibling-like curiosity, plucked the little card from the flowers to see who’s handwriting was on it.

She froze. The handwriting was familiar. Very familiar. It was not, however, Bill or Tara’s handwriting.

Written in the same loopy cursive that was at the bottom of all their case reports to Skinner were the words: Happy Mother’s Day!  - Fox.

The confusion evaporated as quickly as it developed; her mother had mentioned several times what a comfort Mulder was while Scully was missing, and Mulder had made a few comments himself about how much he liked Maggie. Scully also knew that Mulder’s relationship with his own mother was fraught - she never told him, but the emotional abandonment Teena inflicted on him has always been a steady, hot fuel for rage in the pit of her stomach. 

She knew he went to visit Teena for the holiday. A phone call to him that evening would probably be a good idea.

“He dropped those off this morning.” Maggie’s voice made Scully jump. She turned to find her mother leaning in the doorway, all dressed up in her Sunday best for brunch. “He’s a sweet boy.” She smiled.

Scully nodded. “I-” She swallowed, unsure of what to say. “Yeah.”

Maggie gave her an all-too-knowing look before walking over to touch one of the lily petals. “He said he was on his way to visit his mother today.”

“Um, yeah.” Scully took a breath. “He’s taking her to lunch, I think.”

They were both quiet for a moment, and Scully wondered how much her mother knew about Teena. Eventually, they looked at each other in sync; Scully saw the same knowledge that burned in her own gut burning behind Maggie’s eyes.

Scully looked away. “Did, um, did Bill call?”

“No.” Maggie turned to grab her coat. “I’m sure he will later. He’s probably not out of church yet.”

As Maggie moved to the door, Scully bit her tongue against the frustration cresting in her chest. She looked one last time at the pictures from Charlie and the bouquet from Mulder, and then followed her mother outside. 

[anders-hawke]

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

[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.

[television-overload]

of our own making

(an X-Files fanfic)

Chapter 26/34 - madeline

[Read on AO3]

Feeding the baby is slow going, but Mulder thinks they ought to cut her a little slack. It is her first day, after all. Eventually, she takes a longer pause and yawns, her tiny mouth opening wide and showing off her gums.

“That’s a big yawn for such a small person,” Mulder says, watching as Scully sets the bottle aside, lifting Madeline to her shoulder to pat her on the back. It isn’t long before she successfully expels a burp, drawing a chuckle out of Mulder. She’s so good with her already. He can’t wait to see his partner grow and change as a mother. Which reminds him: Mother’s Day is coming up. He’ll have to do something to celebrate.

“It really happened,” Scully says, marveling once more at their situation.

“It did,” he says, then thinks. “Should we tell your mom now?”

She laughs, nodding her head in agreement. Yeah, it’s probably safe to share the news now, isn’t it? “She’s gonna be beside herself.”

“She’s not gonna speak to us for months, for keeping this from her,” Mulder says, the joke an attempt to alleviate the tinge of genuine worry he has.

“I don’t know, I think we’ve got a pretty good Get-out-of-Jail-Free card here,” Scully says, looking down at the baby and bouncing her gently. “She won’t be able to stay away from her first granddaughter.”

Just then, Mulder gets a whiff of something not so pleasant, and he chuckles nervously. “Phew, are you sure? Cause this little stinker certainly knows how to clear a room.”

Scully gives him a thinly-veiled look of amusement, but he can tell she’s put off by the smell too, even with her strong forensic pathologist’s stomach. This will take some getting used to.

“Well, I got to be the one to give her her first bottle,” she says. “You want to do the first diaper change?”

“Somehow, I don’t feel like that’s a fair trade,” Mulder says, laughing. Even so, he doesn’t hesitate to lift the baby from Scully’s arms and carry her over to the changing table, which is outfitted with all the supplies they could possibly need. 

Scully stands by on the opposite side of the table for moral support, watching him with a funny smile on her face. It takes a second for him to find his rhythm—a real live baby with flailing legs is a bit different than an inanimate baby doll, after all—but he vows that in no time, he’ll be a pro. 

“There we go,” he says, tossing the dirty diaper into the trash can from a distance. “A 3-pointer! And the crowd goes wild!”

Scully rolls her eyes, lifting the baby back into her arms and burying her nose in Madeline’s hair.

“How’d I do?” Mulder asks.

Scully smiles up at him from beneath her thick lashes. “Fresh as a daisy,” she says. “I should probably try to get her to sleep. Are you going to call your mom?”

“Yeah,” Mulder says, rubbing the back of his head. “Yeah, I’ll call her later tonight. She usually plays bridge with some friends Tuesday afternoons. At least, I think she still does.” In truth, he hadn’t talked to her much since her release from the hospital, a fact that he really needs to remedy.

Scully nods.

“Well, could you get my mom on the phone and let her know to come? I’m going to get Maddie cleaned up a little before we have visitors.”

“I don’t know if that’s the best idea, Scully,” he says. “When I call her from the hospital, it’s usually not good news.”

Scully gives him an encouraging look before laying the baby in her bassinet for a quick sponge bath. “Well, this is the perfect chance to change that up, don’t you think?”

She’s right, of course. He owes Margaret Scully an awful lot. Let this be the first step toward earning the kindness she has so freely bestowed so many times over the years.

He fishes his cell phone out of his pocket, pressing the buttons for speed dial 4. It only rings twice before it connects.

“Hello?” her voice projects.

“Hey, Mrs. Scully.”

“Fox? Is there something wrong?”

He sighs. He can almost see the pinched Scully look of concern on the elder woman’s face. That’s what he gets for constantly being the bearer of bad news, he supposes. He glances at his partner and then back at the boring pastel colored painting of a flower on the wall.

“Nothing’s wrong, Mrs. Scully,” he assures her. “Actually, it’s kind of the opposite.”

“I don’t understand—”

“How quickly can you get to the hospital in Annapolis?” he asks. “Bearing in mind that no one’s hurt, there’s been no disaster. For once, it’s good news.”

“The hospital?” she questions, still sounding worried despite his reassurances. “I can leave now, so maybe 45 minutes? You’re sure everything’s alright?”

“Promise,” he says. “Dana would have called you herself, but she’s… busy.”

“If you say so,” Maggie says doubtfully.

Gee, he wonders where Scully got her skepticism from. 

“Room 509 when you get here,” he says into the phone, checking his watch for the time. “See you soon?”

He can hear the rustle of a jacket and car keys on the other end of the line. “Yes– yes, I’m on my way. I’ll be there soon.” 

-.-.-

“No, you must have misunderstood me,” Maggie says to the nurse leading the way through the hospital corridors, “I’m looking for Dana Scully in room 509. This is the maternity ward.”

“Yes, ma’am. Room 509.”

“But that can’t be right,” she says, her brows furrowing in confusion.

Maybe Dana is working a case that involves a pregnant woman that required her medical expertise. But why would Fox call her asking her to come?

“You can go on in,” the nurse says as they arrive outside the room.

Thoroughly confused and not knowing what to expect, she pushes open the door. On the far end of the room, Dana sits on a couch, her arm resting against a cart of some kind, while Fox stands, his back to the door, hunched over the same cart. He turns and a smile spreads across his face, and Dana quickly gets to her feet, looking equal parts excited and nervous.

“Mom!” she says.

“Dana? What’s going on?”

She’s not dressed in her doctor garb. She is, however, wearing her usual FBI clothing, though it looks a little rumpled. Her daughter is usually so prim and polished—to gain the respect of her male peers, she supposes—it’s unusual to see her looking anything less than professional on a work day.

“I wanted it to be a surprise,” she says, walking quickly toward her with only a cursory glance back at Fox. “There was always a chance it wouldn’t work out, but…”

She runs out of words to say, opting instead to grab her mother’s arm and start tugging her to the other side of the room. The beaming smiles on their faces are unlike any Maggie had seen in quite some time.

As they get closer, Maggie sees that the cart she saw earlier is in fact a hospital bassinet, and inside lays a baby, wide awake and blinking as she holds tight to Fox’s finger.

“What– how–?” she begins, stuttering, her hand coming up to clutch her metaphorical pearls. “Dana, is that–?”

“Mom, I’d like you to meet your granddaughter,” Dana says, her voice shaking with emotion. Maggie looks up at her, then back at the baby. Tears pool in Dana’s eyes, and she supports her mother as they step up to the bassinet so she can get a good look.

“Oh, she’s beautiful, Dana!” she says, feeling her own eyes begin to water. “But, how? I was with you just a few weeks ago. And, is Fox–?”

“Mulder and I– Well, it’s a long story,” she starts. “Last year, I decided to try in vitro fertilization, and Mulder agreed to… help.” 

Maggie looks up at that, and she doesn’t miss the blush as it spreads across the man’s cheeks. He ducks his head, trying to focus only on the baby.

“It didn’t work, which is why I didn’t tell you,” Dana continues. “I didn’t want to… get your hopes up.”

“Oh, Dana,” Maggie says, looking sad. She wishes her daughter would confide in her more. She stores things up for so long, that when it all finally comes out, it’s hard to be of any help. She has so many questions, and she’s not sure Dana will give her all the answers.

“I thought that was my last chance to be a mother. But then, a few months ago, Mulder said that—” 

It clearly makes her emotional to think of, now, whatever her daughter’s partner had offered to do. 

“He said that if I wanted to try adoption, he’d do it with me.”

Adoption.

“I can’t believe it,” Maggie says, in awe of the tiny baby, and of the man who had made all of it possible. Fox Mulder had changed her daughter’s life forever, and she doesn’t think there’s any way she could possibly repay him.

“I can’t believe it either,” Dana laughs, and she sees Fox nod his agreement. This is a crazy thing that they have done. She'd thought that something was up with the two of them lately, of course, but never in a million years would she have guessed this. 

“Would you like to hold her, Mrs. Scully?” the man asks, gently lifting the baby out of her bassinet.

Overwhelmed and caught off guard by the sight of Fox Mulder holding a child, Maggie can only nod as she accepts the tiny bundle into the cradle of her arms. Tears spring to her eyes.

“Oh…” she sighs, unable to keep the tears at bay. “This is such a… a wonderful surprise. What’s her name?”

“Madeline Samantha Mulder,” Dana says proudly, glancing up at her partner in some form of unspoken communication.

That grabs her interest. 

“Mulder?” she asks curiously. “So you’re…” She gestures between the two of them with her free hand, and catches the glint of a ring on Fox’s left ring finger. Her eyebrows raise.

“We decided we’d raise the baby together. To make the application simpler, we got married,” Dana answers.

Married?!

“When?” she asks, equal parts thrilled and furious that she’d been left out of these plans.

“Christmas Eve.”

“Christmas…” she whispers, thinking back to that day. “That’s why you two had to go rushing off? You were getting married?” she says, aghast.

“Mom—”

“Your entire family was in town, Dana, even Charlie! Don’t you think we would have liked to be there for you on your special day?”

“It isn’t like that,” Dana says, her frustration rising. “It was just a formality. We went to the courthouse. We needed the papers so that we’d be seen as a couple looking to adopt on our applications. Otherwise, we might have been rejected. And you know they’re not the most accepting of single mothers—”

Wait, wait, wait. Back up. 

“I don’t understand,” she says, “You’re married but not… together?”

Fox and Dana look at each other, and Maggie knows the answer before they say it. Her stomach sinks.

“No,” Dana says, a little hint of disappointment in her voice. “Not really.”

Glancing between the two of them, Maggie detects disappointment from both sides, not that either of them can probably tell. They’re so blind to what the other is feeling, that it would be funny if it didn’t make Maggie so sad. All the things they’re missing out on, just because they’re both too stubborn to admit the truth. 

It’s probably only a matter of time anyway, she decides, no use harping on about it for now. If another month goes by with no sign of progress, she'll say something. That's as far as she'll go.

“You two are ridiculous, you know that?” she says curtly, pressing her lips together. “Frustrating.”

“Now you sound like my mother,” Fox jokes, in that self-deprecating tone of voice she wishes he’d stop using.

Maggie sighs, glancing back down at the gurgling baby in her arms. She sure is awfully cute.

“You’re lucky you gave me a granddaughter for all this nonsense I have to put up with,” she says, though not unkindly. She can say this at least about Fox and Dana: this baby will know a kind of love few people in this world get to experience.

They just have to pull themselves together first.

-.-.-

Maddie falls asleep on Mulder’s chest sometime after Mrs. Scully starts talking about breaking the news to Scully’s brothers, and to be honest, he’s glad for the distraction. It does, however, mean he’s kind of trapped there when Scully decides to go ask a nurse about bringing up some lunch for them from the cafeteria, leaving him alone with her mother and the baby.

They sit in silence for a while, neither really knowing what to say. At a certain point, though, Mulder can’t take the quiet anymore.

“You think Scully’s crazy, don’t you,” he says, more of a statement than a question.

“I’m not sure I know what to think,” Maggie answers. “About Dana.”

Mulder winces. He’d have to stop doing that. “Sorry, habit.”

“Ever since she met you, her life has been upside down and backwards from what I always thought it would be,” she continues.

“I know.”

“I don’t blame you, Fox.” Maggie’s hand settles atop his on the armrest of the couch, almost weightless. “She’s happy with you, otherwise she wouldn’t have stayed this long. I may not know much about my daughter these days, but I do know that.”

“I’m happier with her than I have ever been,” he admits. “And now—” he looks down at Madeline. “I didn’t know this much happiness existed.”

Maggie smiles, a little sadly. He’s used to people looking at him like that, the poor kid with the tragic backstory. He just wishes she wouldn’t. 

The room falls silent again. A funny look comes over her face, and he gets the sense that she's holding something back.

“And, where will you live?” she asks, glancing at him out of the corner of her eye.

“We’re going to be looking for a house,” he answers, “but for now I’ve been sleeping in… Dana’s spare bedroom.”

Maggie purses her lips. “No nursery?”

“Not yet,” he says, shaking his head. “We figure she’ll sleep just fine in a bassinet for the first few months.”

“And that will be in Dana’s room?”

“I suppose so.”

“So, will you be helping when she wakes up needing to be fed or changed in the middle of the night?”

What is this, some high-stakes interview for a job? He really hadn’t been prepared for this.

“Of– of course I will,” he answers, perplexed by the fact that she even has to ask. Of course he’ll help take care of the baby, he and Scully are in this together, as they are with everything.

Maggie hums. You could almost hear a pin drop.

“Seems like it would just be easier if you were both in the same room to begin with,” she states, shrugging her shoulders like what she’d said was no big deal. She sips nonchalantly from a styrofoam cup of coffee and doesn’t look at him.

Now, Mulder doesn’t want her to get the wrong idea... “Mrs. Scully—” he starts.

“It’s Maggie, Fox,” she says kindly but firmly, interrupting him. “You’re my son-in-law now, I think you can call me by my first name.”

He sighs, and feels the baby let out a sigh against his chest. You and me both, kid. 

“Maggie…” he corrects. “Look, Scully—Dana—is my best friend. And we’ve agreed to be parents and raise Madeline together, but we’re not—”

“Fox,” she interrupts again. “It’s very sweet that you’ve taken on this role as Madeline’s father, but what about Dana? Doesn’t she deserve a real marriage, with a husband who does more than care for her as the co-parent of their child? Don’t you deserve more?”

The very idea that Scully might not be enough for him offends him deeply, and he’s quick to tell her so. “I couldn’t possibly ask for more than your daughter,” he says. “She’s– she’s all I need. Her and Madeline. As for Dana…”

“She needs you, too.”

“No, but–”

“Don’t take what I’m saying the wrong way,” Maggie says seriously, leaning toward him. “Dana deserves a real husband, who loves and cares for her in all the ways a husband should.” 

She levels a stare at Mulder, and he waits for the other shoe to drop. 

“I’m not saying that shouldn’t be you.”

What?

It’s not like he hasn’t thought of this before—he has—but to be talking about it with her mother? Twenty years from now, if Madeline were to have a friend like Mulder, he’d tell her to run away as fast as she possibly could. But—that isn’t what Margaret is saying, is it?

In fact… it seems like she’s saying the exact opposite.

“You care for her, don’t you?” she asks.

“I do, but—”

“You love her?”

Mulder’s jaw hangs open, his automatic reply dying on his lips. His heart pounds in his chest, and he spares a quick thought toward Maddie and hopes it won’t disturb her somehow. He wants to answer her, but he doesn’t know how. His throat closes up almost completely as tears pool in his eyes, and he doesn’t trust his voice to come out right if he tried. 

He glances down at Maddie, this precious little life he and Scully have vowed to take care of.

“It doesn’t matter if I do,” he says quietly. “She doesn’t… feel the same way.” 

He can’t look at Margaret right now. He’s afraid of what he would see if he did. 

“She deserves better than what I can give her,” he finishes, taking comfort in the warmth of his daughter burrowed into his chest.

Maggie is quiet for a moment. Then, she says, “It looks, to me, like you’ve given her quite a lot.”

True or not, there’s still the matter of everything else his presence in her life has done for her. To her.

“It doesn’t compare to how much has been taken...” he says.

“Which you are not responsible for.” Maggie’s stare is unrelenting, he has no choice but to take every word she speaks to heart. “Ask yourself who else in Dana’s life would have been able to make this possible for her. Who else would make such a life-changing decision, just to make her dream come true?”

“Any guy would have to be stupid not to,” Mulder states the obvious.

“You sell yourself too short, Fox,” Maggie says, shaking her head in either annoyance or disappointment. He doesn’t like either of those directed at him—not from Margaret Scully. “There’s no one she trusts more than you,” she says emphatically. “She wouldn’t have done this with anyone else by her side.”

Maggie sits back, apparently finished dressing him down. The baby squirms and then settles in her sleep, still exhausted from the eventful day she’s had. He can’t help but think about what Maggie had said—that Scully would only ever do this with him, no one else. He wants to push back, to say that isn’t true, but he knows in his heart that it is. 

The question is: what does that mean for him? What does it mean for them?

Maggie gives a tiny smile, watching as he absentmindedly rubs tiny circles on Maddie’s back, lost in thought.

“Dana has told me some of the more unbelievable things you believe in, Fox…” she says quietly. “Aliens, ghosts, monsters… Given that, I would think it would be easier.”

“That what would be easier?” Mulder asks, the drone of his murmur matching the tone she had set.

Maggie smiles at him fondly, her knowing eyes meeting his. 

“For you to believe she loves you.”

~~~

Lovely tag list ♡: [if you would like to be added or removed, let me know!]

@today-in-fic @ao3feed-msr @agent-troi @angegova @baronessblixen @calimanc @captainsolocide @clo-thespin @cutemothman @danasculls @deathsbestgirl @edierone @enigmaticxbee @figureofdismay @frogsmulder @gillian-anderson-in-the-tardis @hippocampouts @invidiosa @monaiargancoconutsoy @msrafterdark @numinousmysteries @primrose19 @randomfoggytiger @skelavender @skylarksong @stephy-gold @teenie-xf @the-redhead-in-a-dress @vincentsleftear

[loubetcha]

something so jarring in wetwired and any episodes in which mulder intersects with scully’s life is the mere fact that scully has a physical safe space/home to go back to and mulder doesn’t. and it’s like he sees that and kind of goes “oh. that’s what it’s supposed to be like.” and maybe seeing that in scully’s life gives him all the more reason to keep searching for samantha because her abduction was the catalyst of all the bad within the confines of his family’s house that he tries to justify because it could all lose meaning if he could just find her. fix everything. to feel he has some semblance of a home. his home was not a home after samantha was absent from it and in many ways she was the beacon of warmth within an otherwise private, cold family.

every single mulder and maggie interaction is so precious to me because she’s the mother he deserved, the mother who continues to be there when her children are suffering or when grief is present and not the resolute, lying, emotionally neglecting one he got. even early on with the interactions between mulder and melissa we can just see that she is able to keep him honest as well, give him the cold hard truth because that’s how much she cares for her sister. and he can understand that, not only because of samantha, but because of how important scully is to him, too.

it hurts me so bad. the scully women collect the pieces of mulder’s broken home without a second thought because that’s the way they are and it’s so impactful because he’s never had that before. people taking care of you because it’s the right thing to do.

[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.

[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!

[casuallycryingoverbooks]

Chapter Six of A Muse, A Myth, A Mortal is up!!

Scully reached for a retort but gasped as she felt a sharp pain in her abdomen. In a moment, Mulder was by her side, crouching next to the chair. “Scully, what’s wrong, do we need to go to the hospital?” Scully shook her head with a smile, tears brimming in her eyes, though she was not entirely sure of their origin. She reached for Mulder’s hand. She put it on her belly and covered it with her own where her bump was still yet to show, or maybe barely there. They waited like that a few moments before she felt it again and this time Mulder gasped. “Is that-” Scully nodded, “Is that normal?”

[randomfoggytiger]

Even though I am personally not religious, one of my favorite character traits of Scully was her faith despite being a hard nosed scientist. If you had to define her religious beliefs how would you? Would you consider her a hard core catholic, a catholic in name only or something else?

I look forward to a 1000 word prompt XD

The Journey of Scully's Faith, in Brief

Oh, yeah, Scully and her religion.

*cracks knuckles*

Faith was Scully's albatross until all things, a tug-of-war between her initial belief and secondary rationalization.

ATHEISM, AGNOSTICISM, AND THE FEAR OF HER BELIEFS

During the first half of the 90s, religion represented, to Scully, everything she was afraid to believe in: her father's ghost mouthing The Lord's Prayer, her Catholic mother's psychic dreams, her partner's and sister's convictions running concurrent with her struggle against faith.

She began Season 1 as an atheist-- more so than Mulder, perhaps-- using the rigidity of science to explain her world. Even though she wore a cross around her neck, Mulder didn't assume Scully was religious; and Maggie backed up that assumption in S2's Ascension, explaining, "I gave" [Scully's cross] "to her for her birthday." The religious iconography, then, was a memento of Scully's mother, not of her faith... which becomes particularly telling during her Season 3 and 4 struggles.

Why?

CHILDLIKE FAITH

Scully had a proclivity to believe in the supernatural, the unnatural, and the paranormal before, as she states in Quagmire, "I grew up and became a scientist." Science, then, is a shield against the unexplained: in other words, Scully fears what she can't quantify, so turns to science to deny her problem's existence. "Mulder, it doesn't matter," she insists when he prods about the cause of her cancer; "Mulder what difference would it make?" she rebuts whenever he wanders too far into the realm of hypothesis.

Beyond the Sea and Revelations hit upon the same raw nerve. Luther Lee Boggs preyed upon her repressed doubts, calling her a liar when she denied she believes and telling her that all liars "go to hell." Kevin Kryder was saved only through her acceptance, shall we say, of God's hand working through her. In both cases, religious belief-- be it her father's ghost mouthing The Lord's Prayer or a sweet-smelling saint her partner can't detect-- terrifies her.

Why would it terrify her? Because religion isolated her.

CONFUSION AND ITS ISOLATION

We know Scully has attachment issues. We see them explored in A Christmas Carol when she poured her heart out to the social worker-- admitting she kept her heart largely unattached for fear of losing yet another person in her life-- but we know Scully isn't a detached person, either. We know that Scully's greatest fear was being betrayed by Mulder. That was explored in Wetwired, when she collapsed in her mother's arms, confused and sick at heart. We know that Scully grew more and more isolated in her partnership with Mulder; but she adapted to and respected that isolation after years of professional betrayal.

In regard to religion, why would Scully feel isolated? The Scullys are a religious family: her mother dangled reminders in her life with cross necklaces and priest visits, her father prayed as his soul departed, and Bill buried her daughter in his local church.

Because religion, Scully believed, isolates her from herself.

When Scully changed her course from medical school to the FBI, her parents heavily disapproved. That disapproval heavily affected her, even if Melissa helped her work past her hang-ups, even if Scully chose to reframe her transfer as "an act of rebellion." In truth, Scully found "other fathers" to hitch her wagon to, "rebelling" only when she spotted another patch of grass that promised greener pastures. The FBI patted Scully on the head and encouraged her to sign up (pre-Pilot); Mulder patted her on the head and encouraged her to stick around (Squeeze), Ed Jerse patted her on the head and encouraged her to take a walk on the wild side (Never Again), and Daniel Waterston patted her on the head and encouraged her to come back to him (all things.) Every decision that drew Scully away from an old belief was caused by a single-minded focus on one aspect of herself: her parents' pride and joy as a doctor, Daniel Waterston's pride and joy as his med student, the FBI's pride and joy as a field agent, Mulder's pride and joy as his partner, Ed's pride and joy as his salvation. And in each case, Scully grew isolated and paranoid because she lost touch with herself as a whole; and usually fled (if temporarily) to what she considered a 'freer' freedom.

How does this apply to religion? As a child, Scully was a good little Catholic girl who smiled at her mother's cross gift; but was also a bad little Catholic girl that smoked her mother's cigarettes for attention. In medical school, Scully was a good little med student who preened under her teacher's adoration; but was also a "bad" little Catholic woman who "grew up and became a scientist." Before recruitment, Scully was a good little scientist who fled from Daniel Waterston's deception; but was a "bad" little lapsed Catholic that (unintentionally) broke up a home. In Quantico, she was a good little field agent who learned all her lessons; but was also a "bad" little by-the-books student who openly dated her Academy instructor. And she was a good little partner who helped Mulder investigate impossible cases; but was also a "bad" little scientist for "holding" him "back."

In short, Scully hadn't allowed herself to fully accept the dichotomous nature of humanity. She must either be a good little Catholic girl or be someone who wants to explore her wild side. Until Revelations, she believed one must believe in God or science; and science gave her clearer answers that squelched her anxieties.

But then, Beyond the Sea, One Breath, and Revelations happened. Scully was unable to articulate or fully understand what her experience "beyond" had been in One Breath, only that it wasn't something to fear. It forced her to brush up against sentiments lingering from Beyond the Sea, to begin to admit there was a simmering belief she wasn't ready to acknowledge.

Revelations in particular tossed Scully from agnosticism back to belief-- and, again, she feared that belief. "Afraid that God is speaking; but that no one's listening" was a distancing tactic she acknowledged in Irresistible, a way to separate from the emotions broiling uncontrollably below the surface. But it also revealed how effortlessly Scully slipped back into a belief in God-- and that she equated that belief with missed cues and punishment.

Why did Scully think religion is tied with punishment, and how did that isolate her from her other potential believers?

MOTHER MAGGIE

Maggie is the key.

As discussed above, Scully strove for acceptance from her parents or from "other fathers"; and that played an important role in her journey towards personal growth. But Captain Scully was but one-half of the picture. Scully's father served as the cattle prod for professional approval-- he modeled complete focus on climbing rank and keeping emotional burdens out from plain sight-- while her mother served as an emotional and religious one.

Maggie was the one person she could "always trust" and truly felt safe with in Wetwired. It was her mother she turned to for reassurance in Beyond the Sea, it was her mother's sins she smoked on the porch, it was her mother's gift she continued to wear when science dominated her beliefs. But Maggie has never been particularly stringent herself in her religion-- smoking cigarettes (during a time period when everyone did, but the point remains), believing in supernatural dreams, inviting the unbeliever "Fox" to mourn with the family, embracing her son's successful IVF baby in A Christmas Carol, and celebrating her daughter's out-of-wedlock baby in Essence.

It's what Margaret Scully represented, not Maggie herself, that Scully feared: unquestioning, childlike faith.

Unfortunately, we are never given closure to the dynamic Maggie provided. Other than a brief appearance in S8's Essence-- Scully's unruffled independence and Maggie's confidence in her daughter's confidence-- we're never shown that final conclusion. Alas.

A QUESTIONER AT HEART

Again, Scully couldn't reconcile the dichotomy of human nature with her (flawed) perception of religious "good and evil." Good people who do wrong, she presumed, have faltered and must repent. By that metric, evil people who do right do it for the wrong reasons. Moreover, Scully viewed a faith in God through one lens; and thought that if one did not completely believe in everything they didn't understand-- childlike faith-- then God was "speaking to them; but that no one's listening." That she wasn't listening. And what happens to those that know better but aren't listening? They are punished, because they are evil.

Scully is a questioner at heart; and Scully came to believe that questioning her beliefs, that failing to believe in things she couldn't understand, was tantamount to disbelieving in God. That's why her religious episodes can be difficult to rewatch: when facing an Almighty God, Scully cowered into complete, blind obedience-- "Perhaps that's what faith is"-- before casting off those shackles and fleeing back to denial and avoidance. But she couldn't shirk her belief, deep down, no matter her rationalizations.

A RETURN TO BELIEF, AND LIMBO

Post Revelations, Scully left the matter largely alone, resolving to finds answers to her own questions "because of my own reasons" in Memento Mori-- a courageous step for someone who usually put her own needs second.

However, the doomed inevitability of Elegy-- another agency-robbing experience Scully couldn't explain-- set her back; and she continued dodging both her mother's priest and her partner's complicated questions in Gethsemane. Scully would feel like a coward if she ran to God for strength after her absence, but she would also feel like a heretic if she questioned the nature of God's existence.

Maggie became crucial to the cancer arc narrative: it was she who kept trying to reach her daughter, to show her that God wasn't taking account of what she had or hadn't done, what she did or didn't fully believe. Scully finally cracked in Redux II, begging her mother to explain why she still clings to God but denies him-- part of her inability to understand and quantify that dichotomy-- but Maggie didn't understand what Scully was talking about, and tried to soothe her, instead. Scully ended up clinging to Maggie, clinging to Mulder, clinging to the priest before she clung to God, viewing even Mulder as a truer believer than herself.

Season 5, Fight the Future, and Season 6 left Scully in limbo. (A Christmas Carol and Emily were about her daughter and the supernatural, not her faith or belief in God.)

The series didn't return to this topic until Biogenesis, The Sixth Extinction, and Amor Fati, a three-parter that focused on the possibility of aliens creating Earth (or having a hand in its creation.) This changed the wide interpretation of her religious texts and tossed Scully back into fearful questions and self-doubt. She cried in Amor Fati because she "doesn't know what to believe or who to trust"-- a verbal slip back into that feeling of isolation that drove her from religion in the first place. (Diana Fowley was formerly evil, but she died saving Mulder. Did that make her a good person who did wrong, or an evil person who did something right?) Mulder, transformed from his own experience, gave her courage and became her touchstone, regardless.

The answer Amor Fati underlined is that Scully had yet to believe in redemption: one could repent, she thought, but it wouldn't change who they were as a person. That thinking formed the cornerstone of her "good or evil" foundation and separated her from the capability to falter but not to fail-- to "sin" but to be "redeemed."

UNANSWERED QUESTIONS

Season 7 sets into motion the culmination of religious journey: Amor Fati (as we already discussed), Orison, and all things.

Orison would have been the perfect followup to Revelations: another demon, another series of supernatural signs that only Scully would understand. However, this time she would fail to put the pieces together, and resort to an action against God's will that would put into question the goodness of her soul. Problems with Orison (that it obliterated Irresistible's message, that its side plots cluttered an already cluttered episode, that Pfaster's "affect" on victims didn't match the reaction Scully experienced) aside, the episode didn't give the audience enough information to explain why Scully believed it was the Devil, not PTSD or a trauma reaction, that forced her hand. However, that was Orison's conclusion.

This, then, set Scully in motion to either follow an path of dark self-doubt or forge a new path of enlightenment. Or both.

We know she took the latter (all things) route, but another episode's potential was wasted in the journey from question to conclusion: En Ami. A road trip with the "the Devil in the flesh" would have been the perfect opportunity for Scully to try to prove the depths of her own goodness: putting her life at risk to obtain the cure for all disease. Scientific altruism and religious redemption combined. It would also prove how well CSM knew her, inside and out: using that lure to bait her away from Mulder (and, hopefully, to his own side.) En Ami could easily have discovered the lengths Scully would go to prove herself and the depths CSM's depravity and justification could sink to. Instead, it became a study in how little CSM understood his unknowing captive, and how little the writers understood why or when Scully chose to leap when told "Jump!"

Regardless, we arrive at all things.

ALL THINGS AND PEACE

all things was about enlightenment and self-love (for Daniel Waterston and his daughter-- also curiously named Maggie-- as well): Scully decides what she wants for her life, which voice she wants to hear. It's also the episode where God spoke back.

all things was a bit of a mixed message, especially considering Scully chose to remain Catholic ("my prayers were answered" in Season 8, lighting the church candles in Season 11, etc.) Gillian's episode had clear Buddhist leanings-- the god of "all things", i.e. the god in all things. God wasn't an active force so much as a peace of mind with the right choice (that choice being Mulder.) But it worked, too-- the ending, especially (which was written with the help of Chris Carter, actually. We'll give him a point for this one.) "Mm, I didn't say 'God spoke back'," Scully corrected, which illustrated that she, at last, straddled the dichotomy of her beliefs: a God that will lead but not directly speak. A God whose signs she chose to follow, not one who punished her if she went another way. "Life's just a path", Melissa told her before she ever stepped foot in the FBI (canonically after the Daniel Waterston debacle we return to in all things); and that message wound back around and stuck, seven plus years later.

But why did all things break Scully's fear of isolation through her beliefs (or religion, at large?) Her flawed perception of her mother's God was reworked, with Mulder as Maggie Scully's stand-in: God became a god of "all things", an entity that not only allowed her to make her own choices, ask her own questions, and harbor her own doubts, but also gave her space to decide and time to return.

That reframing of God then helped her to reframe humanity. Mulder came back from a wasted weekend trip to England, empty-handed; yet she simply guided him home, made him tea, and contentedly listened to him ramble about theories she might not fully believe. Scully no longer felt the need to combat his beliefs or justify her own: she knew, now, what she believed, and that was enough. (As an aside, The Unnatural and all things both end on the same note-- Mulder coming to an epiphany and long-windedly spelling it out until he realizes Scully already knows. Interesting.)

CONCLUSION

And thus, we have concluded Scully's journey of faith.

Any further point canon tried to make was simply a retread of better, more complicated resolutions.

Thanks for reading~

Enjoy!

[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.