#Maggie Scully

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The Scully Family In-Depth (Part XXV): The Mulder-Scully Family, a Convergence of Fate and Freewill

Philes, we have arrived at the last part of the Scully Family series-- and what better way to end this than on a victorious high note?

A SYZYGY

Scully's journey to motherhood is complicated. In The Jersey Devil, she hasn't seriously considered children because she doesn't have a serious relationship. In Home, she draws pointed parallels between her mothering considerations and Mulder's genetic makeup (post here.) In Detour, she brings Mulder a celebratory cheese platter (assuming he'd taken the case to get out of the conference with her.) In Dreamland I, she longingly rambles about other people living normal lives with their houses and children and dogs. In Milagro, she uses Padgett as a means to grab Mulder's attention (posts here.) In The Unnatural, she brings tofutti rice dreamsicles, flirts about her partner's childhood, and happily joins him for a very early or very late birthday gift. (I posit that after The Unnatural, she runs to her doctor in hopes of discovering some slim chance to become pregnant; and this kicks off the IVF arc-- to be discussed below.) She and Mulder keep the family planning book in his office after their attempts fail (as glimpsed in Amor Fati and Brand X.) And she finds out she's pregnant right after her partner has been abducted by aliens.

That's not the full tangle of the IVF and William arc, though-- lest we forget who she was trying to have a baby with... and that Mulder has consistently refused to consider "a normal life" (and parenthood) each time the potential stared him in the face.

The Jersey Devil sets him up in direct opposition to "a normal life", Home shows him reinforcing that decision quite clearly (video here), and Detour and Emily double and triple down. Yet... he wants to be the father of Scully's baby during the IVF arc ("The-the answer is yes.") And he knows William is his-- "What we feared were the possibilities. The truth we both know"-- and is proud of that fact (in spite of the PTSD and drama at play, post here.) When, and why, did he change?

And because this is The X-Files, the tangle doesn't end there. In the previous part here I explored the failed convergence of fate and freewill in the birth, life, and death of one Emily Sim-- all in all, a failure to launch for Scully’s dreams of motherhood, normalcy, and partnership. In the wake of her daughter’s death and the loss of the X-Files, Mulder and Scully are forced to reassess the parameters of their relationship: Mulder has to confess (in his own way) to the nature of his reliance on and feelings for Scully, or lose her forever (Fight the Future); and Scully has to work through her self-doubts and trust to whatever lies between them (The End-Fight the Future.) Therefore, when Season 6 begins with a below-the-belt punch to both, they squabble and feel hurt (The Beginning) but ultimately magnetize back together (Drive.) Repeatedly (One Son-Agua Mala; Milagro-The Unnatural; Field Trip-Biogenesis.) It’s a push-and-pull, back-and-forth, give-a-little-get-a-little routine they settle into, allowing both the space to breathe, to test some boundaries, and to draw back and regroup whenever they so choose. This contributes to the buoyancy and low-stakes struggle of their personal relationship, especially compared to the world-ending tribulations (or professional bug bears) that dog them day in and day out. There are personal struggles of course-- massive ones-- but nothing that does not glue itself back together as quickly and efficiently as possible.

Still, there's one last key component in the Emily Sim, IVF, and William arc. Fate and freewill carry a huge, huge role in Mulder and Scully's work: particularly, the ways both view their work. @nachosncheezies put it quite succinctly: "That Mulder looooves free will, but especially when confronted with the big things he tends to falter - Samantha might have been taken by men based on his parents' choice; Scully's continued presence on the Files and beside him is a choice (and the horrors she suffers are not an inescapable Fate caused by her proximity to him, but something she chooses to endure and continue to risk, because she values the rewards). That Scully wants very much to believe that there's a greater power guiding things, but gets so shook when directly confronted with the notion that God might indeed have more control than she or the people around her." It's how Mulder chooses to view his work (telling Scully “I don’t think this is about justice, Scully. I think it's about fate" in Paper Clip); and how Scully chooses to view not just the work ("I need something to put my back up against"), but her choices and Mulder's choices and life's good and bad, gruesome and beautiful realities. Fate and freewill themselves are constantly locked in battle, weaving themselves into the narrative before getting snagged against each other and having to be unpicked. This is mainly due to the markedly inconsistent writing; but it's there, on purpose, to serve as the show's backdrop.

And under the fate vs. freewill heading, there is one last snarl we need to take into consideration: Melissa Scully and the impact of her legacy on Scully's personal journey. It's Melissa who encourages her sister to "follow your heart, and it'll take you where you're supposed to go" in A Christmas Carol; it's Melissa who speaks for her sister in One Breath, it's Melissa who tells her sister Mulder is still alive and warns her she's "shut off from her own intuition" in The Blessing Way, it's Melissa who died in her sister's stead, it's Melissa who leads her sister to her daughter from the afterlife, and it's Melissa's influence that leads her sister to her own voice and conscience in all things. Melissa acts as the bridge between Fate and Freewill: the heart is destined for something, someplace, somewhere; but you must choose to listen to and follow it to find where you're supposed to go. As @deathsbestgirl put it (post here), "but missy's presence is still felt, her influence on scully outlives her. scully is always trying to reach melissa, to feel her. melissa is always guiding her, and as scully moves further on her path (with mulder), allows herself to learn more about what happened during her abduction/because of her abduction (something melissa wanted her to do shortly before her death), like with emily and the red & the black...every step brings her close to melissa."

So: when do these ideas-- Scully's journey, Mulder's journey, the battle of Fate and freewill, and Melissa Scully's legacy-- culminate and begin to manifest in the Scully Family Series?

The answer: the IVF arc.

THE STARS ALIGN… AND FALTER

Where does the IVF arc fall? That can be debated until the end of time; but for me personally, the only math that maths adds up to a late Season 6 timeline (post here)-- right in the midst of rule breaking and negotiations; and right after Mulder’s perspective begins to shift, allowing him to see the possibility of “life on this planet.” 

Scully’s second attempt at motherhood quickly devolves into the same pattern as the first. Struck one day with the urge to retest her fertility (after a very early or very late birthday present, I suggest), she rushes off to a (seemingly last minute) medical checkup. Scully books an appointment without telling her partner (despite her hopes immediately revolving around him when she gets a positive second opinion-- which means, he was on her mind when she booked the first one, as well.) Further, when Scully returns to the FBI, dispirited, she attempts to deflect his inquiries after Mulder catches up with her in the elevator. But he won’t let this go; and she sighs, admits she’d been at the doctor’s office, then drops into silence. 

“Don’t make me guess,” Mulder quips, afraid it’s cancer. 

Skipping over Per Manum’s dialogue gaffe-- one which contradicts Emily’s timeline-- we arrive at the revelation: “I am not yet ready to accept I won’t have children,” she admits. 

Mulder begins to walk away, but gives in to his conscience, turning back to explain, “Scully, there’s, um, there’s something I haven’t told you-- and I hope you would forgive me and understand why I kept it from you.”

Tense and confused, Scully asks, “What?”

“During my investigation into your illness, I found out why you were barren. Your ova were taken from you and stored in a government lab.”

And while this, too, could fall into showbible blunder, Scully’s next line salvages it: “What? You found them?” puts the stress on 'found', implying her shock comes from his discovery more so than the details he’s sharing. 

“I-I took them directly to a specialist who would… tell me if they were okay,” he replies, softly, head down and unable to meet her eyes: because they weren’t okay. Scully is too distraught to make this connection, yet. 

“I… I don’t believe this--” 

“Scully, you were deathly ill and I… I couldn’t bear to give you another piece of bad news.” Mulder finally looks up, ashamed but sincere. 

Devastated, she’s pulled up short. “Is that what it was, it was bad news?” 

He nods, blinks, maintains eye contact as he slowly explains, “The doctor said that the ova weren’t viable.”

Immediately, Scully distances herself from this pain, punching the elevator button and insisting, “I want a second opinion.” 

Mulder, knowing what his partner’s doing, tries to stop her-- physically reaching out to block the doors from closing-- but gives in when Scully flinches, then shoots him a pleading look: if she doesn’t collect herself alone, she will fall apart. Giving in (what else can he do? his actions have hurt her deeply), he lets her go. 

Scully’s quest for family is once again stymied by the Consortium; and she is spared, once again, from the traumas of tampered motherhood. 

After an undetermined time later, Dr. Parenti joins her in the waiting room with good-- for him-- news: “Ms. Scully, I’ve got a good report for you. I’ve looked at the ova you’ve given me and consulted with some of my colleagues; we all feel that, with the proper approach, it might be successful.”

And that’s the insidious, despicable underbelly to the IVF arc: Dr. Parenti spoke with his colleagues about one Dana Scully-- i.e. he, the Consortium plant, knew exactly who she was and exactly what this vial of ova meant. 

And he, Dr. Parenti, was likely going to use her ova and her womb for his benefit; and if he and his colleagues felt generous, he'd grow her real, replacement child in a tube somewhere to swap with at birth (like he did with Kathy McCready.)

Now: could Scully have had a perfectly normal IVF pregnancy, a one-in-a-million shot that wasn’t tampered or interfered with?

Put bluntly, no:

Dr. Parenti’s clinic was an extension of the arm of the Syndicate, either carrying out his own experiments with their permission or carrying out a niche of their experiments for them. 

The Consortium crumbled in One Son, but vestiges remained-- carrying out CSM’s directives in En Ami and Requiem, and leaving their research facilities scattered, here and there, undetected. 

Parenti worked out of one of these research facilities; and, whatever his "research" had been before the Syndicate’s collapse, it couldn’t have been much different than it is when Scully and Doggett investigated him in S8. 

Further, even if Scully came to his clinic sometime before or after One Son, his purposes were already set in place; and like Scanlon and Calderon, he could, in all probability, take the evidence and disappear into thin air if detected. Meaning, he is ruthless and one-track minded. 

Meaning, Scully’s chances-- which were nil because of the ova’s unviability-- were most certainly tampered with: either to produce another half-formed alien child-- which he might swap with a test tube baby with varying degrees of health-- or to sabotage any chance of success. And, unfortunately, if he wanted to do the latter, he would simply have said there was no chance of success, at all. 

As much as the IVF arc appeals to me, the fact that Parenti walked into the room with a malicious glint in his eye, declared there to be a chance after he consulted with his colleagues, and knew full well who those were and how Scully factored into their equation… there is no way, shape, or form that Scully’s pregnancy would have avoided trauma of some sort: miscarriage; induced labor, perhaps unconscious C-section, and a baby swap; or death. 

Unaware of these odds, Scully collapses in a chair; and before she can process this news completely, Dr. Parenti begins to pressure her for a now, now, now timeline: the odds would be better the sooner they started. Another hint at his greedy machinations. 

“We can start right away?” she asks, stunned-- and, again, her pattern kicks in: hurry, hurry, hurry; don’t think; this is the right thing to do; run; go, go, go. 

“Well, you’d need a father,” the doctor advises; but Scully’s face falls at ‘anonymous donor’, her eyebrows pinching and her eyes dropping at the realization that she’s going to have to ask Mulder to be that donor. Of course she is; and that certainty makes her immediately uncertain of his reaction. “Unless you have someone in mind?”

“Yeah. I, uh….” The music drops, uneasy. “I just have to figure out how to ask him.” 

Mulder’s acceptance, Scully’s reaction; and Mulder’s comfort, and Scully’s tears I’ve already been recorded here; but it bears repeating for this analysis, if in brief. 

We aren’t shown the moment Scully asks for Mulder’s help; but we are shown his shiny eyes and shy eagerness, her anxious timidity and teary delight when he accepts. Mulder comes through that door ready to have a part of that “more” his partner is seeking-- in short, to be a father. Scully mistakes his breathless premise as rejection, and reveals (with her down-turned eyes and crestfallen, “I should have known” expression) that she doubted he’d ever accept this request; or, more accurately, doubted he’d want to change their partnership. It’s part and parcel-- she believes-- of the one step forward, two steps back jig they’ve been doing recently; but it also hits her in the pain point that his turn-aside in Emily (“Are you two the parents?”) created.  

“Th-the answer is yes,” he assures, poking at her arm; and her face transforms into varying stages of overwhelmed delight, unable to believe he wants this, now, with her-- that he wants to share this with her-- quite literally wants to take part in this with her.

And, I believe, both know what this truly means: that Mulder is signing on to be an active father. Despite turning aside from Emily Sim, he did his utmost to protect and save her. That was a responsibility he was thrust into, and one he didn’t turn away from... but one he chose to keep distance from, as well. There is no distance here: “the answer is yes”, after all. 

Again, I shall briefly touch on the moment they receive devastating news (and, again, the post is linked above.) 

Mulder is napping on Scully’s couch, waiting for her return from her appointment. She isn’t surprised, necessarily, to see him there; and he makes no bones about the fact he “must have dozed off” as time crawled by. Seeing her sad face, hearing her defeated, “I guess it was too much to hope for”, he gathers her up in his arms, comforts his partner during her wailing, “This was my last chance!”, and promises her, “Never give up on a miracle.” Mulder has learned to believe in this possibility, and he doesn’t want to let that belief go. 

Already, we see the blurred lines of their partnership: 

After her request and his acceptance, Mulder greets Scully at her apartment-- a marked change in routine from their usual meeting spot (his apartment or the basement.) 

Mulder is just as anxious and excited as she is at the possibility of success. 

And though her “last chance” has failed, he refuses to let the idea of her having a child and achieving her dreams go-- they came this close, he assumes, on the rarest of chances. What’s to say they won’t again? 

Scully, meanwhile, has her own tells: 

She is not (too) surprised to find Mulder in her apartment, despite both of them meeting (more often than not) at his place. 

She clings to him and cries on his shoulder-- the third time in their partnership (Irresistible, Fight the Future, Per Manum.) 

Not only does she cling to him and cry openly, she does so in stark contrast to her previously closed-off emotions (in Emily, and in the beginning of Per Manum’s flashbacks.)

She almost kisses his forehead-- a callback to her authoritative claim in Fight the Future; and one she does not repeat until she reaffirms that claim in Amor Fati-- but ducks at the last second, and vaguely lands on his cheek. 

She allows herself to be consumed by his soothing hug.

In conclusion: neither person was denying what this was to them-- a chance at their own form of a normal life, a bit of hers and a bit of his all blended together in one perfect, successful last chance. But, alas, that was not to be. (And, considering Dr. Parenti’s intentions, that was a good thing.) 

A second attempt; but the first joint failure. 

A “NORMAL LIFE” DEFEATS FATE

And here we reach the grand conclusion of the question of freewill versus fate. 

As previously discussed, Mulder views his quest in righteous terms-- Fate-- to bear up under it; while Scully decisively argues her position in factual terms-- Freewill-- to make sense of it.

“This child was not meant to be,” he warns about Emily; and “Don’t give up on a miracle”, he encourages after the IVF: both statements are lacking perspective and personal agency.

“I don’t see what choice I have," she responds about the adoption; and “I guess it was too much to hope for," she mourns after the IVF: both statements are laced with insecurity and defeat. 

The lingerings of these resolutions are resolved in Amor Fati and all things, respectively. Mulder solidifies his “life on this planet” after being dragged into the bowels of “another life, another world.” It is Conscience, personified by Scully, who confronts his weakness, calling him a coward and leaving him to make an active choice of his own freewill. Mulder chooses to leave behind bigger aspirations, higher callings, greater, inactive purpose to open his eyes to the true world-- the truth-- and cling to her: an integration of freewill. She is, he realizes, his touchstone. Scully solidifies her decision to stay with Mulder-- not the files, not the work, not their romantic relationship-- after being given a chance to take another path. And it is Conscience, personified by the running woman-- revealed to be Mulder-- who confronts Scully’s self doubt and directionless spiral, leading her one step at a time to her own resolution and peace. Scully chooses to let go of her doubt and indecision, trusting in her instincts to guide her: an integration of fate. He is, she realizes, where she belongs.

Both of these journeys finally sync up in all things: Scully tells Mulder about talking to God and falls asleep, Mulder rambles about paths not taken and tucks a blanket around her. And Scully of her own freewill joins Mulder in bed; and together they create their own miracle-- a sprinkle of fate and a boatload of personal choice. 

William, then, is a perfect combination: not because he is an alien super soldier or a divine proof of God or a result of the corrupt, freewill actions of other forces or "the key to everything" fated into existence through White Buffalo prophecy to save the world (@deathsbestgirl thoughts and post here), but because he is human. Normal. A miracle because he is not at all what anyone except Scully and Mulder expected him to be.

“We feared the possibilities,” Mulder acknowledges while holding his days-old son. “The truth we both know.” 

“Which is what?” Scully asks-- also one guided by definitives. 

And he gives her one-- a kiss-- to mark this new chapter of their lives. 

What is that new chapter, you wonder? 

In Requiem, Mulder and Scully miss sign after sign of her pregnancy, fearing she is suffering from close proximity to an abductee ship. She shuffles to his hotel room, sick and weak; and he tucks her up and whispers, “There has to be an end, Scully.” 

Mulder is a man of half-sentences and vague meanings: there has to be an end for Scully, for all she’s sacrificed.

“I want you to go home”, he admits.

“Oh, Mulder, I’m fine,” she whispers; but it’s not the full truth. 

"No, no, I've been thinking about it: looking at you today holding that baby... knowing everything that's been taken away from you. The chance for motherhood--" Scully's face scrunches in pain: she can't pretend this wound has healed, "--and your health and that baby. I think that... y'know, maybe they're right." Mulder speaks gently, contemplatively: and though this moment is focusing on Scully's losses, there is more going on-- particularly in Mulder himself.

"Who's right?" Scully asks, waveringly.

"The FBI," he answers plainly, sorrow and realization blending together."

Scully doesn't respond, brows wrinkling in confusion.

"Maybe what they say is true-- but for all the wrong reasons. It's the personal costs that are too high."

Scully doesn't respond, again: more importantly, she doesn't deny. And although she doesn't agree-- although she's stuck in worried limbo, afraid for her health, stumbling over the fact of her infertility-- she seems to be considering his words, or the intent behind them. Even more importantly, Scully doesn't know what Mulder's point is: that she resign? That they resign together? Is he turning over a new leaf just when she's learned to accept her choices and his ways for what they are?

Like Elegy, both are “afraid of the same thing”: that the final toll of this quest will consume Scully. (Just as they "feared the possibilities" in Existence.) She tries to escape this sense of doom by working, by nearly fighting her partner to go back to Bellefleur when Krycek and Marita show up dangling special intelligence. Mulder, however, is tired of loss, tired of years and years without closure. He floats the idea of leaving, for her sake; and doesn’t push it farther. But it’s on his mind, her health and her happiness; and her health and her happiness, he ruminates with mature clarity, might not be sold in bulk at the FBI. On the flip side, Mulder doesn’t float the solid idea of him leaving, too: he hasn’t let go: he's yet to make a decisive choice to leave (ala Vienen.)  

Mulder returns to Bellefleur; and Mulder is abducted right before Scully finds out she’s pregnant. 

There’s a deeper dive to be had regarding Mulder’s rewritten demise in Requiem and second rewritten death in Three Words. Be that as it may, Mulder is forced onto the alien spaceship; Mulder is tortured for long months against his will; and Mulder is “killed” and buried before he can learn about the existence of his child. Here, again, is the Fate conundrum: Mulder's "fated" quest lays claim to him now that he begins to contemplate another path. As for Scully, she decides to fight-- and fight hard-- to get her partner back, railing against Kersh’s edicts, throwing water in Doggett’s face, asserting her authority over extraterrestrial life, and leading the charge in her own efforts to locate the spaceship.

She almost loses her baby, three times, due to the stress and drive of her choices; yet, Mulder still “dies”-- Fate, it seems, has won. But Mulder is alive (through Skinner's choice); and her hard work pays off when he blinks awake. 

In short: Mulder and Scully beat the machinations of Fate-- he outlasted the torture and death intended for him; and she fought back against others’ intent for her partner, the files, and their child.

A brief note on Scully’s Season 8 pregnancy: in A Christmas Carol, Emily, and Per Manum, we see her throwing caution to the wind to grasp after second chances, unwittingly falling into traps in a vain attempt to capture happiness. In Requiem, Within, Without, and Roadrunners, however, she's pivoted priorities, ruthlessly upping the ante to reclaim her partner, thrusting herself into dangerous situations without first taking the baby’s life into account. It's the same, though inverted, psychological underpinnings: desperation, motivation, and determination. She had to face motherhood alone with Emily Sim; and she was able to face the IVF failure with Mulder’s support. But carrying Mulder’s baby to term and raising it, alone, is another thing; and one she is aware comes with a predetermined end date on the files. Scully justifies the risks and peril-- at first-- in Mulder’s name. Scully bandies about the country trying to keep the files going in her partner's stead, for his return; but the truth is, she is using the files to escape from her reality. And as she finds out in Alone, Scully’s also unable to let the files go-- which surprises her (even though she'd previously refused to let them go during the three months her partner was buried. Perhaps Scully's self-awareness was out to pasture, as often happens when she's buried under stress and grief, e.g. Beyond the Sea, Irresistible, Memento Mori, Elegy, etc.)

This proves a few things: 

As much as Scully proclaims she “wants to settle down, have something approaching a normal life”, and as much as Mulder insists she should go (Fight the Future, Requiem), Scully can’t or won’t leave until it feels right. “Follow your heart, and it’ll take you where you’re supposed to go,” Melissa told her, once (post here); and she was completely correct about her sister. 

As much as Scully committed to leaving the FBI for Emily or the IVF’s sake, she wasn’t ready either time; and was pushing that thought away with countdown clocks and ticking time bombs. 

Scully chose to stay on the files for the entirety (or most) of her pregnancy; and drifted back on maternity leave, conflicted. Saving Doggett’s life one last time and meeting Agent Leyla Harrison assured her that there will always be more believers to take up the cause. She is convinced her decision to leave was the right one, and lets that part of her life go in good conscience.  

It's Three Words, and Mulder is alive! All, however, is not smooth sailing. He is alive but withdrawn, riddled with wounds and PTSD; and Scully is confused and hurt, riddled with guilt and expectations. 

Three Words unfolds, and they get through it together; Empedocles unfolds, and Mulder begins to embrace his role as ‘the father’; Vienen unfolds, and Scully is vexed that her partner ran off to a potential death without remembering his child; Vienen resolves, and Mulder quits; Alone unfolds, and Scully is drawn back to her work while Mulder keeps drawing her away from it; Alone resolves, and both have relaxed into their role as X-Files retirees and impending parents. Mulder chooses to leave, and has taken steps to solidify that choice; Scully realizes she hadn't let go, and makes with her transition.

Yet, we have the madness of Essence and Existence.

The question-- for Mulder at least-- of Fate or Freewill hasn’t been sufficiently settled: in Essence’s opener, he ponders, "But has our ingenuity rendered the miracle into a simple trick? In the artifice of replicating life can we become the creator? Then what of the soul? Can it too be replicated? Does it live in this matter we call DNA? Or is its placement the opposite of artifice, capable only by God? How did this child come to be? What set its heart beating? Is it the product of a union? Or the work of a divine hand, an unanswered prayer, a true miracle? Or is it a wonder of technology, the intervention of other hands? What do I tell this child about to be born? What do I tell Scully? What do I tell myself?" Scully, predictably, doesn’t want to entertain more doubts or heartbreak after her previous scares; and has stuck her head decidedly in the sand (i.e. The Blessing Way, Memento Mori, etc.) That child is his, he knows (post here); but Fate, he feels, has played cruel tricks before. There are already two metaphorical graves for Scully’s children; and another one either grown from a tube or destroyed with Calderon’s abominable experiments. 

The show boils the entirety of (then) canon down to its essential themes: the truth they both know, but the possibilities they fear; Mulder wants to believe, and Scully's afraid to believe.

As previously mentioned, Mulder is caught up in doubts, then conspiracies; and he flails around for answers. When he rushes to her apartment and tries to help her pack, Scully becomes more and more heated at his non-answers.

"No, just stop! Can you tell me what's wrong? Is it something to do with my baby?'

"No," he assures gently, "your, your baby is fine." Then his gravitas shifts, and he adds hurriedly, "It's you who's in danger now, Scully."

"From who? Mulder, from what?"

"I don't know--" that's not enough for Scully, nor her anxiety, "--I'm not sure. I'm not sure about anything. I just know I got to get you out of here."

Finally, she yells, “Look, Mulder, look, I can't take this! I can't live like this—as, as the object of some unending X-File.”

Mulder, pushed to his extremis, finally tells her what she needed to hear for most of their partnership and especially after her pregnancy, his death, and his resurrection: “This isn't about the X-Files, Scully. It is only about you. Now, you are going to have this baby and I'm going to do everything I can to protect it.”

These two statements speak volumes: Scully and Mulder have both chosen to put the files behind them.

Why is this so important? Because for the first time in each pit stop towards parenthood-- towards expanding the Scully family, if you will-- this baby and its safety is not an x-file for Mulder, is not another life that wasn’t meant to exist; and this baby is not an x-file for Scully, is not tied to a traumatic, stolen moment from her past. She wants one area of her life to be free from conspiracy and collusion; and he wants the baby (and Scully) to be safe, once and for all.

We’ll keep Existence brief because its nonsensical, illogical, and frankly stupid writing decisions could be studied as a “How Not To” guide. After sending Scully away due to his fears (and relapse into a Freeze response, post here), Mulder comes to his senses and flies out to Georgia, arriving too late to prevent any real danger and missing the birth of his child. Scully, meanwhile, gives up; and allows herself to be schlepped away to the middle of nowhere, giving birth before an audience of unfeeling monsters. Suffice to say, despite multiple factions breathing down their necks and insisting this child is a proof of God or a weapon for or against the planet, William’s birth confirms that he is, indeed, a normal child: a plot twist to Fate and the creatures who attempted to play god. 

If we tune down the unnecessary noise, one key detail sticks out: Scully did not know the sex of her baby. When trying to barter for her baby's life, a mother will do anything to humanize her child to its threat. That action is one with the highest chance of success-- and a medical doctor trained in the FBI would know this. In fact, we've seen Scully use this technique before (ex. in Monday with Bernard.) Yet, she doesn't: she pleads for "my baby" and "please don't let them take it." 'It' is the clearest sign of her ignorance (and was purposefully written that way, I believe-- a two-fold "What is the sex?" and "Will the baby be taken before Scully herself knows?" dose of climax anxiety.)

But does this theory hold up under closer scrutiny?

We know Scully is shown the sex in Per Manum, but that is revealed to be a false result intended to deceive her. There was so much confusion afterward about real babies and alien babies that it was a mess to sort through; and Scully switched doctors, regardless, to ensure her safety.

She likely didn’t want to know anything more after this point, refusing to acknowledge that something might be wrong. This is in line with many, many other examples of her almost blind avoidance when confronted with a truth she doesn't want to face.

When Mulder mentions the connections to Parenti’s clinic in Essence, she tries to shut the conversation down; and when he replies, "That's-that's all I'm trying to do. Just make sure nothing happens to you; that this baby you're carrying is born without any surprises”, she stares him down angrily-- further proof Scully won't entertain these thoughts willingly.

“What we feared were the possibilities,” Mulder confirms in Existence: Scully had those fears, too. Avoiding the sex would be a way to put her fingers in her ears and experience a “normal”, profoundly uninteresting last two trimesters-- “Didn't you have to wait with us?” she tells Maggie. 

An that brings me to another interesting note: her behavior is not dissimilar to Bill Scully setting up shop in an exact replica of his childhood home, trying to copy and paste those traditions for his own family-- which included decorating the nursery in his sisters’ “old” room. In other words: he was recreating Melissa’s past (their past) without referring to her death, just as Scully is escaping fearful possibilities by recreating a the ignorance of the nostalgic past. “You keep things so bottled up,” Maggie worries (post here); and she is deadly accurate. 

Back at Scully’s apartment [x] days later, Mulder arrives; and, for the first time that we see in the series, opens her door with his own key (post here.) 

This is incredibly significant. It cannot be overstated. Scully’s own mother hired a baby nurse to assist her daughter because Scully’s privacy is so finely tuned that Maggie knew she wouldn’t want guests over. Mulder himself only ever dropped in after a knock at the door, even after his resurrection. And, although he had things of his at her place (in all things, @unremarkablehouse and @touchstoneaf's post here) and she had things at his (in Orison, post here), the two hadn’t solidified their cohabitation. Until now, when he waltzes in, greets her guests comfortably, and strolls in to meet and hold his son. And Scully looks up, smiles blissfully, and hands their child over. 

Mulder is enamored, is in awe of his baby; and that look of bliss and wonder is everything Scully could have hoped for.

“William,” she names, after Mulder's father-- a man who bucked the Consortium as much as he could (post here), who gave up and gave in (post here), and who decided, of his own freewill, to own up to his mistakes at the last (post here.)

In short: a shot at Fate. 

After laughing at her partner's shot at Skinner, Scully questions, "I don't understand, Mulder-- they came to take him from us-- why they didn't."

“I don't quite understand that, either. Except that maybe he isn't what they thought he was.” Another shot at Fate. “That doesn't make him any less of a miracle, though, does it?” A third shot at Fate. 

Encouraged, she smiles. It slips as she admits, "When I became pregnant, I feared the truth." More evidence of her head sticking firmly in the sand. "About how. And why. And I know that you feared it, too."

Mulder has an answer already-- he's given this thought since William's birth. "I think what we feared were the possibilities. The truth we both know."

“Which is what?” she asks; and he leans forward and shows her: the final blow. 

Fate is soundly defeated: Mulder, the boy who lost his sister, who set aside a life to find the Truth, has found happiness away from it-- has chosen his own truth. Scully, the woman who chose then doubted her choices, has obtained peace-- has chosen to leave the files after finding her truths, too.

Not only is this ending the culmination of their journey to parenthood, but it also resolves their character arcs: life on this planet, something resembling a normal life, and a manifestation of a bond and willpower stronger than death. 

Last but not least, it also encapsulates the journey’s of each of their family’s legacy-- and on a more personal level, the culmination of their sister’s legacies: Samantha Mulder’s gifted closure (post here) and Melissa Scully’s intuitive guidance (posts here, here, here, and here.)

(But what if William had been inexplicably magical? What if he had had alien powers; or was a creation for and fulfillment of higher purposes? What if he was, in short, the key to everything? 

Then Fate would have won the debate: William was the key to everything; and would be hunted down or chased until evil is defeated, or he saves the world. As Mulder and Scully conclude in The Truth's ending speech:

“I want to believe… that if we listen to what’s speaking, they can give us the power to save ourselves.”

“Then we believe the same thing.” 

In other words, Fate is predetermined; and humanity will be destroyed if they don't listen to and heed its warnings and thunderings. Which would effectively destroy eight years of build-up and resolution: Fate as a tempered option, Freewill as a vehicle for growth and change, Conscience as the deciding factor. It would destroy Mulder and Scully's individual and mutual arcs, their son's conception and birth, their sisters' losses and legacies, their families' virtues and faults, failures and victories. In short: it would be a predetermined-- fated, if you will-- mess.)

CONCLUSION

And that brings us to the conclusion of the Scully Family In-Depth series! 

Thanks for reading!

Enjoy~

[unremarkablehouse]

It never once occurred to me that Walter Skinner and Maggie Scully could have any romantic potential while watching the original series but in retrospect I wish they’d have gotten together purely because Mulder would embrace calling him ‘Dad’, while Scully would waiver between acceptance and horror.

[mytardisisparked]

Shirts

Scully wakes up one morning to realize her usual shirts don't fit anymore.

Read on AO3.

She’s at Mulder’s apartment when she wakes up one morning and realizes that her blouse is way too tight to wear to work. The buttons at her middle are fit to pop and the whole thing is pulling until there are sizeable gaps between the strained buttons that show… well, everything.

With a sigh, she wrestles herself out of the shirt and silently bemoans the hubris that kept her from accepting her mother’s offer to help her shop for maternity clothes last weekend. She thought she had more time.

That’s the crux of it, isn’t it? Always thinking we have more time…

She swallows hard and digs through her side of Mulder’s closet for a different blouse. Everything there is the same size as the one she just tried to put on. She considers, for a moment, just re-wearing her shirt from yesterday – Sunday – but it’s more casual than she would prefer, especially since she feels she has an image of professionalism to maintain in light of her increasingly-evident condition.

She hasn’t heard any of the rumors – she suspects she may have Agent Doggett to thank for that – but she knows they’re circulating. She’s seen the shared looks and not-so-subtle glances when she walks through the upstairs offices. Most of the bureau must know by now that she’s pregnant and have a solid idea of who the father is.

Her skin crawls to think of what people might say, not because she’s ashamed in any way, but because she knows that no one will ever understand the depth of her relationship with Mulder; no one can grasp exactly what he meant to her and what she meant to him. They will think of tawdry nights out on the road or locked doors in their downstairs office, rather than the encompassing love and comfort and friendship that lay between them. The rumors will make their relationship sound cheap and dirty when it was anything but. 

And then there are the people who will romanticize it, who will imagine her grief and try to sympathize when they have no real idea of how large the gaping hole in her heart is. They will never fully understand that Mulder had become her whole world, their lives entangled in a beautiful and painful and confusing way that even she isn’t sure how to define. She loved him, and still does, but they were so much more than just love. They were more than any simple word in this language or any other. The hollow sympathies and the cards and the flowers will mean nothing, if they ever come. They can never fully encapsulate who she and Mulder were, together.

And so, she isn’t sure what’s worse – the scorn or the pity. She’s glad she hasn’t heard any of it. She hopes she never does.

Her eyes slide from her own shirts to Mulder’s. There are a few missing; she has been slowly taking them out to sleep with, one by one, as Mulder’s cedar-y scent wears off. She grabs a light blue one and slides it over her arms and shoulders, starting to button it up. 

It fits. Not perfectly, but it lays over her stomach and breasts comfortably. The shoulders are a bit large and she will certainly have to roll the sleeves, but the fit reminds her, in a way, of the looser suits and blouses she wore when she was younger, when she first started working in the X-Files.

She stands in the mirror, taking in the shirt and her face and the bump at her waist that is becoming more and more apparent. The shirt might be reminiscent of her younger days, but the rest of her is not; there are dark circles under her eyes and her cheeks look more hollow than they ever have. Her mother would say she looks haggard, if Maggie Scully weren’t too kind to make any comment on her appearance at all, aside from the occasional “you look a bit tired, darling,” or “I think you’re starting to show, dear. I can tell if you turn just the right way.”

Scully sighs and rolls the sleeves, sliding her jacket over it. She turns in the mirror and decides that her appearance is acceptable.

When she arrives at work, she sees Agent Doggett do a subtle double-take at her outfit. He seems to consider it for a moment before turning back to his work without comment.

She lets out a breath as she sits at her desk and opens a file.

—

Despite her mother’s repeated offers to help her shop for maternity wear, Scully continues to wear Mulder’s shirts. She washes them in his washer and dryer, using his brand of detergent and dryer sheets in the hopes of making them smell more like him. It helps, she thinks. Maybe.

A kind coworker from the fingerprinting lab gifts her a couple of maternity shirts that she had purchased but never worn during her own pregnancy. Scully smiles and accepts them, but they never leave her closet.

The material of some of Mulder’s shirts is a bit stiff and scratchy. She wears them anyway, over a tee or a tank on the days when her skin feels too sensitive. 

Her stomach itches now from the stretching. At night, she sometimes imagines that it’s Mulder’s warm hands applying lotion to her abdomen instead of her own. She can almost feel his breath brushing her neck and tickling her hair if she closes her eyes.

Though she’s been able to feel the baby kicking on the inside for a bit now, the first time she can feel it from the outside is during one of the times she’s applying lotion. A tiny foot presses against her fingertips and she immediately falls apart, thinking of how excited Mulder would have been to feel that first kick.

She still uses lotion after that, but she refuses to think of Mulder while she applies it. She can’t.

She still wraps herself in his shirts every day.

Her mother stops offering to help her shop. Instead, she brings by a bottle of Mulder’s brand of detergent.

—

Eventually, Mulder’s shirts no longer fit.

She’s almost through her seventh month now, and his shirts fit almost as poorly as her own did the first day she started wearing them. 

On the weekends she wears his sweatshirts, which are still mostly loose. During the week days, she wears sweaters.

She calls her mom. They go shopping. It’s a quiet affair, but they come home with a good handful of pants, blouses, and casual shirts for just about any occasion.

She still wears his sweatshirts on the weekends, even as they grow tighter. The material is soft and the fabric still smells faintly of him. Something about it holds the scent longer, she thinks. Or, perhaps, it’s just her imagination –the ghost of a scent lingering around the Oxford lettering.

Who cares? It feels good. It feels better.

She’s never heard the office gossip, not even a whisper. She does hear Doggett snapping at a pair of agents in the 3rd floor breakroom once, not long after she starts wearing sweaters instead of Mulder’s button-ups, but she never finds out what they had said to invoke Doggett’s anger. She doesn’t ask, and he doesn’t say.

He brings her hot chocolate sometimes. And ginger tea for her stomach. She remembers one day, as he hands her a mug of cocoa with extra marshmallows, that John Doggett was a father once. She wonders if her own impending parenthood brings up any painful memories for him. If it does, he never gives even the slightest indication. Instead, he asks her things like how she’s feeling, how her checkup appointments go, and if she’s still craving green olives. (“I picked up a jar last night. In case of emergencies.”)

She takes the olives appreciatively and eats the whole jar in one sitting.

—

When Mulder returns, she gives back his shirts. He gives her a small smile and lets her help him rehang them in the closet next to hers. 

Things are a bit tense. He’s still not fully back, still feeling discombobulated from missing almost half a year of his life. Of her life. 

She can see the flashbacks in his eyes. He’s remembering things – slowly, painfully – from his abduction. He flinches at the sound of a saw from the construction site across from his apartment complex. He pulls away when a nurse tries to grab his wrist to check his pulse. He won’t lace his boots around his ankles. Unpredictable sensations threaten to overwhelm him and she feels terrible that she can’t even fathom how to protect him from it.

She feels even worse that he seems resistant to letting her try.

They sleep apart for a few days. She cries and doesn’t even try to blame it on the hormones. 

He calls her in the evening on his fourth day home from the hospital and asks if she’s seen his favorite Oxford University sweatshirt; “the blue one with the boxy lettering.” She realizes it’s still in her bag of things she had her mother bring her at the hospital, and she offers to return it to him that night. 

He invites her into his apartment. She settles on the couch and gives the sweatshirt back, feeling a bit of loss as the treasured, Mulder-scented fabric leaves her fingers. Still, he smiles genuinely and thanks her, and she supposes that’s a sort of recompense.

He puts it on and freezes, looking down at it. The middle is stretched out a bit from Scully wearing it.

“Mulder, I’m so sorry. Maybe with a good wash and dry we could fix-”

Mulder shakes his head and takes it off. “No. No, it’s-” He swallows and Scully tilts her head at him, brows furrowed. 

He offers her a hand, helping her to her feet and then, a bit awkwardly, he lifts her arms up and slides the sweatshirt over her head and down her arms until its snugly fitted over her and her belly. 

He swallows again and blinks. “Yeah, that’s, um. That’s better.” 

In a second, she’s wrapped securely in his arms and wrapping him securely in hers. Between them, she can feel their baby kick. Mulder gives a watery laugh and hugs her more tightly.

And she thinks, for a moment, that he’s more comfortable than any shirt.

[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.

[teiasviago]

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

[starkmaiden]

One of the most unintentional funny moments of the XFiles is in One Breathe, when Mulder is having his breakdown in the middle of hospital and being dragged off. And then smash the next scene is him sitting calmly with Maggie Scully and the doctor. Because like Maggie would’ve had the convince them to let Mulder stay and not throw him out/arrest him/toss him to psych. And how did he get so calm? Did the drug him? Did Maggie have to talk him off the edge?

[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

[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!

[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.

[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. 

[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!