Casa Scully. The front window is -- incredibly stupidly -- wide open. Why doesn't Scully just invest in a nice neon sign, reading, "Hired Killers, Kidnappers, and Aliens Welcome!" The wind is wafting inside, making the pull cord to the blinds tap against the window frame. Tapping. Tapping. Tapping. We get it. Tapping = clock ticking = time passing = Scully feels like her life is going nowhere. Let's move on. Can we get some aliens, here? How about a mystical mystery baby? Whale songs? Anyone? Hello? Yeah, it's still tapping. Scully comes inside and tosses her stuff down. She takes off her shirt and eats a block of cheese. Oh, that's me. And it's not really cheese when it's this hot. It's more like popsicles and ice chips. I hate this weather. The phone rings. "You came to see him?" the caller spits. "Who is this?" Scully asks. It's NotJorja. She hates Scully. That's all you need to know. Also, Waterston wants to see Scully. Scully muses that she doesn't know if she has time to go see the sick old man. "Look, it's your choice," NotJorja spits. "But if you come, it doesn't mean I accept you being in his life," she says, and throws down the phone. Man, what is her problem? I mean, sure, she's all bitter that Scully sexed up her dad and ruined her parents' marriage, but obviously Scully hasn't been in the picture for years. Get some therapy, NotJorja, and get pissed at your dad (the guy who had the affair), not the woman he slept with. Scully looks pained as Mulder buzzes through on the other line.
Mulder's got Scully on speakerphone as he packs for his trip. He's watching an old movie on the TV in his...Mulder has a TV in his bedroom? I forgot Mulder even had a bedroom. Even though we just saw it thirty-five minutes ago. I know. I'm old. I don't even remember what I just forgot. Oh, the bedroom. And the packing. And the movie. I can't tell what it is, but it's in black and white and the couple is never going to see each other again and it's breaking the guy's heart. At first I thought it was Casablanca, but it's not. And no one cares, so I'm moving right along. Um. Okay. Mulder. "Are you there?" he asks, leaping to take Scully off speakerphone and pausing the nameless flick. (Hey, I did some research just now. The official site has some good information about this episode, including interesting tidbits about the set dressings Gillian Anderson chose and stuff about crop circles and the design on the t-shirts she gave to the crew who worked on this episode with her, which I think is really very nice even if I'm not in love with this episode, and whatnot. Anyway, it says this about the movie in this scene: "Playing on Mulder's television is the 1953 film Stazione Termini (also released in the United States as 'Indiscretion of an American Wife') starring Montgomery Clift and Jennifer Jones. It is the story of an adulterous wife meeting her lover for one more tryst in Rome's train station." Make of that what you will.) "Mulder? Aren't you supposed to be on the plane?" Scully asks. Mulder reminds her that he's flying out later. "Right, I lost track of time," Scully mutters absentmindedly. Do you get it? With the time theme, here? As is Mulder's wont when leaving the country, he gives her an assignment: to investigate these people who are somehow connected to this whole Crop Circle Plot Device thing. They're researchers, or something. I don't know. He wants her to pick up some stuff they won't fax to him. Mulder keeps yammering on and on and on and Scully just zones out, staring at the pull cord of her window dressings, almost hypnotized. "Speak to me, Scully," Mulder says. "I'm out for the evening, Mulder," Scully finally announces. "Well, why didn't you just say so," he asks snidely. She rolls her eyes and tells him that if he leaves the address on her machine, she'll "try for [him]." Then she hangs up on him.