9X05: 4-D #9ABX05 ORIGINAL AIR DATE: 12/09/2001 WRITTEN BY: STEVEN MAEDA DIRECTED BY: TONY WHARMBY ========================== DISCLAIMER: ========================== The X-files and all its characters and episodes are owned by FOX, Chris Carter, and Ten Thirteen Productions. This transcript was made without their permission and it is absolutely forbidden to use it for commercial gain. Please let me know if you catch any inaccuracies. If you would like to use this transcript on your site, please let me know so I can visit the site! I do ask that the transcript and all names and disclaimers be left intact. Believe it or not, this is hard work both for the transcriptionist and his/her VCR. Feel free to add on your own disclaimer for your particular site. For corrections / inaccuracies contact: steph@philedom2k.com or intrepidly002@yahoo.com ========================== OS SUMMARY: A vicious murderer threatens Doggett and Reyes. Or does he? The only thing certain is that he's one step ahead of everyone else. ========================== 9X05: 4-D ========================== < TEASER > SCENE #1: [LUKESH' APARTMENT BUILDING] (ERWIN LUKESH enters his apartment building. He walks down the short stairs and picks up a copy of "The DC Weekly". REYES is the only other person in the lobby. She's fixing her bicycle. LUKESH glances over at REYES. He glances at the ceiling mirror hanging in the corner. It's as if he knows that they're watching him. In the van outside, DOGGETT and FOLLMER are watching cameras hidden in the lobby.) DOGGETT (whispers to FOLLMER): He’s looking right at us. Fifty bucks says that's Lukesh. A hundred says he knows we're here. (LUKESH glances once more at REYES who is silently fixing her bike in the corner of the lobby.) DOGGETT: It's him. Let's take him. FOLLMER: Let him get to the mailbox. DOGGETT: It's Lukesh. I don't need him opening the mailbox to prove it. FOLLMER: Patience, Agent Doggett. DOGGETT: We've got an agent alone with a psycho who likes cutting out women's tongues -- a guy known for his vanishing act. FOLLMER: We've got the block surrounded. He isn't vanishing anywhere. And your partner volunteered. [Closed-captioned only] DOGGETT: Looking right at us. FOLLMER (watching LUKESH on the cameras): Now ... open 4-D. (LUKESH tucks the paper under his arm and walks up to the rows of mailboxes. FOLLMER (to the radio): Agent Reyes ... Stand by. (LUKESH pulls out his mailbox key. He fiddles with the key hesitantly. He glances over at REYES. He turns away from the mailboxes without opening it up.) DOGGETT: What the hell is this? (REYES drops the bicycle wrench and pulls out her gun. She goes in pursuit of LUKESH.) DOGGETT (over radio): Monica, don't. (REYES glances up at the hidden camera acknowledging that she heard him.) FOLLMER (over radio to REYES): Agent Reyes ... keep your distance. Don't let him see you following. (REYES continues to pursue LUKESH. She walks out of the hidden camera range, down the hallway to the back of the building. She rounds the corner in time to see the door to the stairwell close. REYES opens the stairwell door slowly. She glances in the stairwell and sees it empty. There's a shadow of a figure behind REYES. REYES steps into the stairwell.) DOGGETT: Monica, where are you? REYES: Back stairwell. I lost sight of him. I think he might be here. (REYES turns around and LUKESH slashes her throat with a straight razor. REYES screams. DOGGETT and FOLLMER burst out of the van outside and into the building, running with their weapons drawn. The two agents head straight for the back stairwell. DOGGETT kicks the stairwell door open to find REYES bleeding, her hands holding her throat. DOGGETT gently lays her down. FOLLMER is on the radio calling for backup.) DOGGETT: Oh, no. Oh, no! FOLLMER (on radio): Agent down! Back stairwell! Get EMS here now! (DOGGETT wastes no time and takes off in pursuit of LUKESH. FOLLMER takes his place next to REYES and notices that her gun is missing.) FOLLMER (to DOGGETT): Doggett! He's got her gun! (DOGGETT bursts through the doorway to the back alley. He glances about him and zeroes in on LUKESH a few feet away from him walking toward the end of the alley blocked by another building. DOGGETT raises his gun and doesn't take it off of the retreating figure. There's nowhere else for LUKESH to run.) DOGGETT: Erwin Lukesh! Federal Agent! (LUKESH continues to walk toward the end of the alley, his back to DOGGETT. DOGGETT takes several more steps toward LUKESH which brings him closer to him. He can see his bloodied hands. LUKESH still has his back to DOGGETT and continues to walk away from him. In the background, we hear the sirens of additional backup.) DOGGETT: Turn around, you son of a bitch. (LUKESH finally stops walking and raises his bloodied hands to the air. The sirens grow near and a couple of police cars stop at the mouth of the alley. LUKESH slowly turns around, a strange smile on his face as he faces DOGGETT. DOGGETT turns his head from LUKESH for a moment to issue orders to the cops behind him.) DOGGETT: Back here! (DOGGETT turns back and LUKESH is gone. He's nowhere to be seen. In the background garbled radio transmissions for the police cars can be heard. DOGGETT takes a couple of steps forward into the alleyway. The radio transmissions stop. The police cars aren't there behind him anymore. DOGGETT does a sweep of the alleyway. LUKESH, with his bloodied hands holding REYES' gun, is standing behind DOGGETT. The gun pointed at DOGGETT's head. DOGGETT is still looking forward. He has a feeling that someone is behind him. He swings around intending to fire at the person behind him. He's too late and LUKESH fires.) < /TEASER > [Captioning sponsored by Fox Broadcasting Company Twentieth Century Fox Television and Toyota. Get the feeling. << TITLE CREDITS >> Tag Line: (a mirrored image of) THE TRUTH IS OUT THERE (COMMERCIAL SET #1) SCENE #2: [REYES'S APARTMENT] (A mirrored image of REYES' throat shows that she hasn't been injured. REYES sets the mirror down on the table. She's unpacking boxes in her new apartment. It's large and spacious. There's a high ceiling, lots of windows and plenty of light streaming through. REYES picks up a stack of books and walks toward her bookshelves. DOGGETT appears near the open doorway behind her. He's healthy and unhurt. He knocks to catch her attention. REYES turns around.) REYES: Hey. (She approaches him with a smile on her face. He walks into the apartment carrying a small white package.) DOGGETT: So this is how the uptown crowd lives, huh? REYES: This is it. Moving on up. DOGGETT: So, is there anything really heavy that I can move for you? A dresser, a fridge? (DOGGETT generously offers his help. REYES smiles knowing that his appearance at her apartment is more than just timely and coincidental.) REYES: No, but thank you, John. You've just missed the movers. DOGGETT: You don't say. (DOGGETT's teasing her. REYES' smile grows larger. She's enjoying the moment.) DOGGETT: I brought you a housewarming gift. (DOGGETT offers her the small white package that he carried in with him. He watches her face, eager to see her response. She looks down as he opens the package for her to sniff.) REYES: Hot dogs? (REYES smiles. DOGGETT's pleased with her response. He's like a little boy with a new toy.) DOGGETT: Polish sausage! It's the best in the city. There's a little stand a couple of blocks over on M Street. You'll be able to walk to it. REYES: Wow. DOGGETT: Try one. (She takes one. He takes one. She smells hers. He's already eating his.) REYES: Mmmm! Mmmm! Like I'm back in Gdansk. [CLOSED-CAPTIONED REYES: John, you've got some ... ] (REYES looks up at DOGGETT and with her thumb, wipes some mustard off the side of his mouth. They look at each other. REYES smiles.) REYES: Let me get some plates. DOGGETT: Plates? For crying out loud. Who eats polish sausage in plates? (REYES goes into the kitchen to find some plates. She puts her sausage down on the microwave oven. The phone rings.) REYES: Hello. SKINNER: Agent Reyes, it's A.D. Skinner. REYES: Yes, sir. SKINNER (in his FBI jacket from the alley): There's no easy way to say this. I'm sorry to do it over the phone. REYES: What is it? SKINNER: It's Doggett-- he's been found in an alley off Dillon Park. He's been shot. (SKINNER turns to watch as the EMTs push a gurney with a bloodied DOGGETT on it.) REYES: I'm sorry. What did you say? SKINNER: They're taking him to Washington Memorial. Agent? (The gurney with DOGGETT on it is being pushed toward the Ambulance.) REYES: Sir, what you're saying is... (REYES walks out to her living room to confirm that DOGGETT is still there. She walks out there and nobody's there. The room is empty. The door still open and DOGGETT is nowhere to be seen. REYES is perplexed by this. SKINNER's still on the other end of the phone calling her name.) SKINNER: Agent Reyes? Agent Reyes! SCENE #3: [WASHINGTON MEMORIAL HOSPITAL] (The elevator bell rings, the doors open and REYES is there. She's thoughtful and silent. She makes her way to the nurse's station and tries to catch someone’s attention to find out what’s going on.) WOMAN (over P.A.): Paging Dr. Benson. REYES (to physician who doesn’t hear her): Excuse me. (FOLLMER makes his way toward her.) FOLLMER: Monica. REYES: Brad? Skinner called you, too? FOLLMER: He's staying at the crime scene. I'm sorry. I've been put in charge of the investigation. I promise you, it's my top priority. I will find the person who did this. I just need to find out why your partner was in that alley this morning. REYES: He wasn't! He was with me, at my apartment. He was with me when Skinner called me. (FOLLMER is confused by REYES' claims.) FOLLMER: I'm not sure I'm following. (REYES watches FOLLMER for some sign of comprehension. She hears footsteps to the side approaching her. She sees SCULLY approaching from behind FOLLMER. She walks past FOLLMER to talk with SCULLY.) SCULLY: Monica, I'm so sorry. Agent Doggett's just coming out of surgery. They're moving him to the ICU. FOLLMER: How's it look? SCULLY: If he pulls through this ... it's likely that he'll be paralyzed for life. REYES: I haven't understood one single word I've heard since I got here. Whoever you're talking about, it's not John Doggett. SCENE #4: [DOGGETT'S HOSPITAL ROOM] (The heart monitor is beeping slowly and the respirator is hissing. The door to DOGGETT's hospital room opens. SCULLY followed by REYES and FOLLMER enter the room. REYES is clearly surprised. She approaches the bed. DOGGETT is in a neck brace and on a ventilator. REYES puts her hand on DOGGETT's hand. She's clearly upset by the sight. SCULLY and FOLLMER aren't untouched by DOGGETT's condition. REYES has tears in her eyes.) SCENE #5: FBI BALLISTICS LAB WASHINGTON, D.C. (The Tech is matching bullet markings on the screen. SKINNER is next to him watching the process. FOLLMER walks through the door.) FOLLMER: You found the bullet. SKINNER: Nine-millimeter slug. Found it in the alley lodged in the wall. Most likely from a Sig Sauer P226 or 228. FOLLMER: Possibly FBI-issue. SKINNER: I know what you're thinking, but this didn't come from Doggett's weapon. Ballistics don't match, and his gun was never fired. FOLLMER: Assistant director? (The two move off to the side.) I'd appreciate case updates in a timely fashion. For instance, this bullet: How long have you had it? An hour? Two? SKINNER: Thereabouts. FOLLMER: It's just that we need to keep the lines of communication open. That's all I'm asking, okay? I want this slug run through our database of FBI-issue pistols. SKINNER: Like I told you the round didn't come from Doggett's weapon. You're not saying another agent could have done this? FOLLMER: Just run it, please. SCENE #6: [ROOM OUTSIDE DOGGETT'S HOSPITAL ROOM] (Slow, muted beeps emit from the machines inside DOGGETT's room. REYES stands on the outside watching DOGGETT through the window. She sighs. SCULLY joins her.) REYES: I just ... I don't understand how any of this is possible. He was with me, Dana, in my apartment. How can this be? SCULLY: I saw something once. It's only been in the last couple years that I've fully come to terms with it. In '94, my father passed away. And that night I think ... that very moment that it happened, he came to me. I like to believe that he came to say good-bye. REYES: A visitation. I think that's wonderful -- a blessing -- but that's not what happened to me. (SCULLY's cell phone rings.) SCULLY: Scully. SKINNER (in his car): It's me. Is Reyes with you? SCULLY: Yes, she's here. We're both at he hospital. SKINNER: I need you to bring her to the Sixth District Police Station. I'm on my way there myself. SCULLY: What's this about? SKINNER: I'll tell you when you get there. (SCULLY hangs up. REYES glances over at her.) SCENE #7: METRO POLICE, SIXTH DISTRIC WASHINGTON, D.C. (SCULLY and REYES arrive at the station. SKINNER intercepts them. REYES: What's going on? SKINNER: Agent Reyes, would you mind stepping inside, please? (REYES glances over at SCULLY. She goes into the interrogation room. SCULLY looks at SKINNER.) FOLLMER: Hi, Monica. Have a seat. (He indicates that she should sit down. REYES sits.) I wanted you and I to have a chance to talk alone to clear a few things up-- a few details of your story. REYES: My "story"? FOLLMER: Well, your assertion that you were with Agent Doggett when he was shot. (SCULLY and SKINNER are in the back room behind the mirror in the interrogation room. They're watching the proceedings.) SCULLY: What is this? SKINNER: Just wait. FOLLMER: Is that a true statement? REYES: Yes. I mean ... no, I wasn't with Agent Doggett when he was shot, but I was with him at the time A.D. Skinner called to tell me he'd been shot. FOLLMER: Look, Monica ... you know how I feel-- you know I'm on your side-- but give me something here. Give me some mitigating reason for what you're trying to cover up. SCULLY (in the observation room): I'm going to put a stop to this. (SCULLY moves to leave the observation room. SKINNER stops her just as another officer shows up with an unidentified man.) REYES (over the com): What are you saying to me, Brad? (inside the room) Why are you saying these things? (FOLLMER sighs. He stands from his chair and moves to the shadowed corner of the room giving REYES full view of the mirror in front of her.) FOLLMER: We've checked and rechecked the ballistics tests. The bullet that hit Doggett came from your gun. And furthermore, we have an eyewitness-- one who's placed you at the scene. REYES (accusing): Is that why I'm here ... in this room, so you can make an ID?! FOLLMER: Agent Reyes, I'm going to have to ask you for your FBI identification and your gun. (REYES is clearly angry with the maneuvering. She stands and walks in front of the mirror.) REYES (demanding): Who's there? Who's back there?! [closed captioning reads:] LUKESH: Yes, that's definitely her. THE OFFICER: We appreciate your cooperation, sir. (The camera moves and we see that the "eyewitness" brought in to identify REYES is LUKESH.) LUKESH: Anything I can do to help. (COMMERCIAL SET #2) SCENE #8: [DOGGETT'S HOSPITAL ROOM] (REYES puts her hand on DOGGETT's. He is still unconscious. The respirator breathing for him. No telling how long she's been there. The door behind her opens. SCULLY and SKINNER both walk in. A man in a dark suit is out in the hallway behind them.) REYES: Smart touch-- posting a guard to make sure I don't finish the job. (SKINNER turns to look at the guard outside.) REYES (accusing): Do you really believe I did this? SKINNER: No. But it doesn't matter what I believe. You may still be arrested. REYES: So what are they waiting for? SCULLY: Follmer's case has a couple of potential holes. SKINNER: For starters, there's the fact that when I called you, you were at home -- 14 miles from the crime scene. SCULLY: Plus, there's the condition of your gun. REYES: It hadn't been fired. SCULLY: However, the bullet does match your gun ... perfectly. REYES: It doesn't make any sense. None of it. What about the eyewitness? What can you tell me about him? (SKINNER turns away from her.) SKINNER: You know we can't discuss that. (SKINNER looks over at DOGGETT lying in bed. His eyes widen as he notices something.) SKINNER: Look. (REYES turns around. DOGGETT's finger is moving up and down. His eyes are slightly open.) REYES: Oh, my God. John? (SCULLY moves forward and pulls out her trusty penlight and checks DOGGETT's eyes.) SKINNER: Is he conscious? SCULLY: I don't know. It could just be a muscle spasm. It's not uncommon with this type of spinal injury. (SKINNER watches DOGGETT's finger tapping and notices that there is a definite pattern to it.) SKINNER: No, it's not a spasm. (He reaches for his pen and paper. Both SCULLY and REYES turn to look at SKINNER.) REYES: What is it? SKINNER: It's Morse code. (They all wait in silence as SKINNER takes down what DOGGETT's trying to tell them. When DOGGETT's done, his eyes close with exhaustion.) SCULLY: What did he say? (SKINNER holds up the hand-written note: "Lukesh.") SCULLY (reads): Lukesh. (SKINNER sighs.) REYES (confused): What? What does that mean? (SCULLY looks at SKINNER.) SCENE #9: [LUKESH' RESIDENCE] (LUKESH inserts his mailbox key into mailbox 4-D. He pulls out the mail and makes his way to his apartment. He enters his apartment. A television can be heard in the background. He puts the keys and the mail on the side table. He takes the catalog further into the apartment with him leafing through it as he moves into the kitchen. Inside, a female voice drones continuously in a whiney voice.) MRS. LUKESH: Who's there? Is somebody there? Erwin, is that you? (LUKESH goes into the kitchen and takes a glass down from the shelf.) LUKESH: Who else would it be, Mama? (LUKESH opens the refrigerator and takes out a bottle of tomato juice.) MRS. LUKESH: I thought maybe robbers. I thought something terrible had happened to you. You were gone so long. LUKESH: I was gone two hours and six minutes. I'm back at noon just like I told you. (He adds a dash of tobasco to the glass and fills the glass with tomato juice.) MRS. LUKESH: I was so scared. Could you bring me a glass of clamato with two squirts of Texas Pete and two ice cubes? Oh, god, I was all alone and I heard the knob rattle ... (LUKESH opens a kitchen drawer and pulls put REYES' handgun. He twirls it around in his hand and admires it as his mother's voice continues in the background.) MRS. LUKESH: ... Somebody was rattling the knob. It was the robbers, I just know it was. I don't know how I got through it. I was so scared. (He pulls out the cloth the gun was sitting on, closes the drawer with the gun still inside, grabs the glass of clamato juice and heads for his mother's room.) Announcer (on tv): Like sand through the hourglass so are the days of our lives. (In the bedroom, MRS. LUKESH is lying on the bed. He hands her the glass of clamato juice as she raises the head of the hospital bed higher so she can watch the tv.) MRS. LUKESH: My show is on. Could you make me my hot sandwich so that I could eat my sandwich while I watch my show? (LUKESH returns to the kitchen. He opens the refrigerator and blindly reaches for the ingredients to make his mother's sandwich.) MRS. LUKESH: What kind of sandwich is it? LUKESH: Potted meat. MRS. LUKESH: I don't think I like that. Have I had it before? LUKESH: Many times. You love it. (LUKESH pulls out a plastic bag with a human tongue in it.) SCENE #10: [REYES'S APARTMENT] (REYES throws away the Polish Sausage. It has a bite in it. She is not happy.) REYES: I should be at the hospital. SKINNER: Scully will call if he regains consciousness. REYES: Either way, I should be there. SKINNER: Agent, you're still under investigation. Not to mention I will be, too, if it's ever found out that I showed you this. (SKINNER holds out a file for REYES. He has her attention now. She takes the file, sits down and sifts through its contents.) REYES (reading): "Erwin Timothy Lukesh." SKINNER: Have you ever seen him before? REYES (reading): "1995: Patient at the State Psychiatric Hospital at Gaithersburg. Diagnosed with a delusional disorder anger subtype, which presented itself shortly after the suicide death of this father." SKINNER: After four months he was deemed fit for release. He lives with his invalid mother in an apartment adjacent to the crime scene. REYES: What's the story he's telling? SKINNER: That he heard a bang went downstairs to investigate and then saw you exit the alley. REYES: This is the one person we know was in the vicinity at the time of the shooting. Why would Doggett say his name? SKINNER: You think Lukesh shot Doggett? REYES: What if Doggett was investigating Lukesh? What if Lukesh is somehow behind all this? (SKINNER's cell phone rings.) SKINNER: Skinner. FOLLMER (walking down the corridor at the hospital): It's Follmer. Do you recall our discussion yesterday where I asked you to keep me up to date? SKINNER: I do. FOLLMER: Really? And yet, it's like we never even had it. I'm at Washington Memorial. I'm assuming you're with our prime suspect. (SKINNER glances over at REYES.) FOLLMER: Bring her. She's going to talk to Agent Doggett. SCENE #11: [WASHINGTON MEMORIAL] (Elevator bell dings and the doors open. REYES and SKINNER exit the elevator. FOLLMER and SCULLY are waiting in the hall. They make their way down the hall toward DOGGETT's room.) FOLLMER: Oh, the gang's all here. REYES: How is he? SCULLY: Fully conscious. We set up a communication device designed for spinal injury victims. Speaking with him should be much easier. FOLLMER: Just so we're clear you'll ask only the questions I want asked. You're not to try to shade his testimony in any way. SKINNER: If you're so concerned, why let Reyes talk to him in the first place? FOLLMER: Because he says he won't talk to anyone but you. (REYES walks into DOGGETT's room. SKINNER and SCULLY start to follow but are stopped by FOLLMER.) FOLLMER: He didn't mention you two. SCENE #12: [DOGGETT'S HOSPITAL ROOM] (The respirator whooshes. Additional equipment including a computer screen have been set up in the room. REYES walks in. DOGGETT is fully conscious. FOLLMER follows. REYES walks up to the bed and unhesitatingly brushes her hands against DOGGETT's cheek. She smiles.) REYES (softly): John ... hey, there. (DOGGETT's finger is attached to a sensor pad that records his tapping. Through the motion of his finger, he selects letters on the computer screen and is able to communicate by putting the selected letters together. DOGGETT: ALIVE> REYES (notices his word and misinterprets what he's saying): That's right. You're alive. As if there were ever any doubt. DOGGETT: NO YOU HOW OK? > REYES: Why am I alive? Is that what you're asking? REYES: I'm fine, John. Why wouldn't I be? (FOLLMER grows impatient.) FOLLMER: Have him say who shot him. DOGGETT: YOU> (REYES silently looks at DOGGETT. FOLLMER looks at REYES. He's not happy at this. But DOGGETT's not through with this message.) DOGGETT: YOUR THROAT CUT> REYES: My throat wasn't cut, John. What do you mean? DOGGETT: LUKESH KILLED YOU / TRIED KILL ME (REYES looks at FOLLMER. FOLLMER looks at DOGGETT. Nothing's making any sense. DOGGETT and REYES are looking at each other.) SCENE #13: [LUKESH' APARTMENT] (LUKESH is lying in bed next to his mother. He is wide awake. He gets up and looks over to check that she's still sleeping. She is. He silently gets out of bed. MRS. LUKESH'S eyes open. She is fully aware that he has left the bed and that he's getting ready to leave the apartment. LUKESH walks out to the back alley, a straight razor in his hands. He holds it up, admiring it and begins to walk determinedly toward the back of the alley. He disappears as if passing through an unseen wall.) (COMMERCIAL SET #3) SCENE #14: [DOGGETT'S HOSPITAL ROOM] (The doctor is using a poking object to find whether DOGGETT has any sensation in his chest.) DR. KIM: Wiggle your finger if you feel anything. Any sensation at all? Pain? Tingling? Okay. That's enough for today. (DR. KIM puts away the poking object. He smiles at DOGGETT.) DR. KIM: We'll see if you can do any better tomorrow. (He smiles at REYES and leaves the room.) DOGGETT: 1ST TIME EVER / HOPED FOR A / LITTLE PRICK> REYES (smiling at the humor): You kiss your mother with that mouth? DOGGETT: HOWS CASE?> REYES: It's coming along. (DOGGETT looks as if he doesn't believe her. REYES tells him the truth.) It's nowhere, basically. There's so much that's impossible to reconcile. You say I was on a stakeout with you. I say you were at my apartment bringing me ... John ? Do you know a little stand on M Street supposed to be really good hot dogs? DOGGETT: POLISH SAUSAGE / BEST IN CITY> REYES: John, what if we were both right? What if you were at my apartment and I was on a stakeout with at the exact same time? What would it take for that to be true? DOGGETT: WE BOTH HAD TWINS / WHICH WE DONT> REYES: Except maybe we do. Maybe all of us do. You've heard of the idea of a parallel universe ... one that's identical or nearly identical to our own one in which we all have a double. It's theoretical physics, but... what if it's real? DOGGETT: TOO MUCH / STAR TREK> REYES: You said yourself, Erwin Lukesh was known for his impossible escapes. You said that in the alley you looked away only for an instant and he was gone. < FLASHBACK 1 > (LUKESH raises his bloodied hands to the air and he slowly turns around. DOGGETT has his gun on LUKESH, he turns for a moment to yell to the cops behind him.) DOGGETT: Back here! (DOGGETT turns back toward LUKESH, and he's gone. DOGGETT moves forward in cautious pursuit.) REYES (v.o.): And then somehow he was behind you and he shot you. (LUKESH appears behind DOGGETT. His gun aimed point blank at DOGGETT. DOGGETT swings around to shoot, but LUKESH shoots first.) < /FLASHBACK 1 > REYES: With my gun -- my gun that never left my possession that entire afternoon. What if Lukesh can pass freely from one parallel world to the other? Like ... like he's opening a door. < FLASHBACK 2 > (DOGGETT is advancing with his gun in front of him to search for LUKESH who has disappeared. The cop cars are behind him.) REYES (V.O.): And what if somehow you followed him through that door without even knowing it? (DOGGETT advances and passes through the dimensional wall unknowingly. The invisible wall seems to swallow him up.) < /FLASHBACK 2 > (DOGGETT is back in the neck brace in the hospital room in the bed listening to REYES. He hasn't taken his eyes off of her.) REYES: Maybe when you followed Lukesh into this world, my ... my Doggett got forced out. DOGGETT: WOW> REYES: My Doggett would have called that crazy, too, but give me another theory that fits. SCENE #15: [INTERROGATION ROOM] (LUKESH is sitting in an interrogation room. Both SKINNER and FOLLMER are there with him.) LUKESH: I'm kind of confused as to why I'm back. I already told you everything I know. FOLLMER: We just had a few little, uh... inconsistencies that we needed to clear up. LUKESH: Sure. Dot the "I"s, cross the "T"s. (He finds this humorous.) SKINNER: Yeah, here's one for starters. We have an eyewitness that says you shot agent John Doggett. LUKESH: Well, that's surprising. I can't imagine who would have said that. SKINNER: Agent Doggett. Yeah, he's regained consciousness. He's very chatty. Among other things, he says that you’re a murderer. That you enjoy killing women with a straight razor and cutting out their tongues. (LUKESH takes a deep breath.) LUKESH: Yeah. Wow. What a corker. FOLLMER: Mr. Lukesh ... would you consent to a GSR test? LUKESH: GSR? What is that? FOLLMER: It can reveal whether or not someone recently fired a gun. You wouldn't mind indulging us, would you? LUKESH: I don't know. I think I'd have to talk to my lawyer about that. Look. My heart goes out to your Agent Doggett, but he's confused. It's clear to me that your female agent, Ms. Reyes, is responsible for this terrible tragedy. FOLLMER: Is there someone who can corroborate your story? LUKESH: No. SKINNER: What about your mother? I mean, you live with your mother, right? LUKESH: She was sleeping. She wouldn't have heard anything. SKINNER: Huh. Well, still, maybe she can tell us something. Would she be willing to come down here and talk to us? LUKESH: My mother's in poor health. She, she gets confused easily. SKINNER: Oh, we can go to her. LUKESH (suddenly angry): I won't have you harassing her just because you're afraid to admit one of your people did this. Now, if you're going to arrest me ... do it. (LUKESH stands up.) Otherwise, I'm going home. (LUKESH heads toward the door and pauses at SKINNER's words.) SKINNER: Say “Hi” to Mama. (LUKESH leaves the room.) SCENE #16: [HALLWAY OUTSIDE INTERROGATION ROOM] (REYES makes her way through the police station to look for SKINNER or FOLLMER. She meets up with LUKESH as he's leaving. She passes by him but recognizes him from his file picture. She stops. He walks by her and feels her watching him. He stops, turns around and makes his way back to her.) LUKESH: Agent Reyes, right? (He's taunting her.) What's the matter? Cat got your tongue? REYES (focused): How do you do it? You know what I'm talking about, don't you? There's this world and there's the world where you live out your sick fantasies. When did it start? Was it after your breakdown in '95? All that anger. It's buttoned up so tight it had nowhere else to go. It had to get released. Not here, but in a world just like this one. (LUKESH steps closer to REYES and into her personal space.) LUKESH (whispers): God, I enjoyed you. You bled just like a pig. (REYES doesn't say a word. LUKESH savors the moment, then slowly moves away from her. SKINNER comes out of the interrogation room and calls to REYES.) SKINNER: Reyes? (FOLLMER appears behind SKINNER. He sees REYES and is equally concerned.) FOLLMER: You all right? (REYES doesn't move. She watches as LUKESH saunters away from her.) SCENE #17: [LUKESH'S APARTMENT] (LUKESH opens the refrigerator and takes out the tomato juice. He holds the cold bottle against his forehead. From what we know of LUKESH, his apartment is noticeably silent.) LUKESH: Mama, I'm home. (There's no answer. The apartment is still silent. LUKESH gets a glass out of the shelf as he always does.) LUKESH: Mama, you want your clamato? (LUKESH puts down the tomato juice and walks over to the drawer in the kitchen. The one with REYES' handgun in it. He opens it to find it empty. The gun isn't there. A moment of panic hits LUKESH as he realizes what must've happened.) LUKESH (nervously): Mama? (He turns around in the direction of his mother's room.) Have you been out of bed? (LUKESH is clearly panicking.) Mama? (He walks to her bedroom. He opens the door and REYES' handgun is on her bed table.) MRS. LUKESH: You don't tell me things, Erwin. LUKESH (whispering): I tell you things. MRS. LUKESH: You sneak out of the house all night. You leave me alone all by myself and then you think I don't know. Well, I know. I know-- every time. What is it that you do, Erwin, that you don't tell me? LUKESH (whispering. He’s scared now): I don't. I don't do that. I don't know what you mean. MRS. LUKESH (pointing to the gun): Why is that in my house? I opened the drawer and it gave me a heart attack. I don't know how I even picked it up without it going off and killing me. I was so scared. (She is crying.) LUKESH (whispering): Mama ... I don't know how it got there. MRS. LUKESH: If you won't tell me ... you can tell the FBI, that's it. Yes, the FBI has left three messages. (LUKESH glances over at the answering machine's blinking light. Everything is falling apart.) They want to talk to me. Can you imagine, Erwin? Why would the FBI want to talk to me? (LUKESH makes a decision. He walks over to the answering machine and erases the messages.) MRS. LUKESH: What are you doing? Aren't you even going to listen? (LUKESH is resigned.) LUKESH: Are you going to talk to them? MRS. LUKESH: Well, of course I am. It's the FBI. LUKESH: Mama. (LUKESH isn't happy about what he's going to do. He begins crying. His mother is unsympathetic.) MRS. LUKESH: Oh, don't turn on the waterworks, mister. That's not going to wash. I'm the one who's being lied to. (LUKESH is still crying as he pulls out his straight razor. He wipes the tears from his eyes.) MRS. LUKESH (startled): Erwin... what are you doing? (LUKESH takes a deep breath and approaches his mother's bed.) MRS. LUKESH: Erwin. What are you doing?? Erwin...! (LUKESH climbs on the bed and strikes out at his mother with his straight razor. She screams.) (COMMERCIAL SET #4) SCENE #18: [DOGGETT'S HOSPITAL ROOM] (Using a disposable razor, REYES gently gives DOGGETT a shave. She is focused at what she's doing. When she's done, she stands up. DOGGETT types.) DOGGETT: MISSED A SPOT> REYES (smiling): Did not. Anyway, that's what you get for hiring cheap help. DOGGETT: BEEN THINKING> REYES: Thinking about what? (REYES reaches over with the warm towel and begins to wipe the excess lather off DOGGETT's face.) DOGGETT: SOUNDS CRAZY / BUT THINK / YOURE RIGHT> (REYES doesn't like where this line of thinking is going. She looks at DOGGETT who continues to type.) DOGGETT: 2 DOGGETTS CANT / BE IN 1 WORLD / U CAN FIX> REYES: How? DOGGETT: PULL THE PLUG> (REYES is not amused.) REYES: Bad joke. DOGGETT: I GO YOUR / DOGGETT COMES / BACK> (REYES looks at DOGGETT.) DOGGETT: CMON YOUR THEORY / SOUND> REYES: My theory is sound? You don't believe a word of it, John. Never in a million years would you believe. This has nothing to do with my theory. DOGGETT: DO U BELIEVE?> (There are tears in her eyes. She nods her head silently. Yes, she does believe. DOGGETT already knows this.) DOGGETT: PROVE IT> (REYES won't do it.) REYES: I would do anything for you. Anything but that. (DOGGETT watches REYES. His eyes telling her the truth of his words. REYES'S cell phone rings. Her voice breaks as she answers it.) REYES: Reyes. SKINNER: It's Skinner. Are you okay? REYES (composes herself): Yes, sir, I'm fine. SKINNER (at LUKESH'S APARTMENT): I can't say the same for Miriam Lukesh. (SCULLY is also there at the APARTMENT.) REYES: What happened? SKINNER: She's dead. It's the exact same M.O. Doggett described. Most likely a straight razor was used. REYES (to DOGGETT): Lukesh killed his mother. (to SKINNER) Do you have any idea where he is? SKINNER: None. But if everything I've been hearing is true, he's not going to be easy to find. REYES: I think he'll find us. SCENE #19: 67 BENNETT AVE. WASHINGTON, D.C. (It's dark outside on the street of REYES' apartment. A dog in the distance barks. REYES opens her apartment door and enters. She turns on the lights and takes off her jacket. A soft clattering is heard from the other room. REYES unholsters her gun and checks it out. She sees the small containers on her bathroom floor. She holsters her gun.) SCULLY (over the radio): Are you all right, Agent Reyes? REYES: Just a little jumpy, I guess. (REYES moves to stand in front of the small mirror. There's a camera behind the mirror that enables SCULLY, FOLLMER and SKINNER to observe her from the van.) SCULLY: It's understandable. I don't think you're the only one. FOLLMER: Try and take it easy, Monica. We got you covered coming and going. REYES: Anything happening out front? SKINNER: No, you moved into a quiet neighborhood it's dead out there. REYES: I think I'll check around once more. (REYES makes her way room by room through her apartment. She stops by the fallen containers in her bathroom and picks them up. All the while, SCULLY, FOLLMER and SKINNER observe her through the various hidden cameras throughout the apartment. REYES hits an area outside the camera range. LUKESH grabs her from behind and prevents her from screaming. He pulls the radio from her ear and holds the straight razor against her neck. He is not happy.) LUKESH (rasping into her ear): You want to scream right now, don't you? REYES: Lukesh... LUKESH: Because your friends outside parked in a van -- might as well say "FBI" in big huge letters. Try and scream out to them. They can't hear you. (In the van, SCULLY's looking at the camera screens. REYES can't be seen.) SCULLY: Where'd she go? FOLLMER: Monica, do you copy? SKINNER: Reyes? Agent Reyes, do you read me? (SCULLY'S watching the motionless cameras.) SCULLY: He's in there. He's got to be. FOLLMER: It's not possible. SCULLY: Well, what if it is? You want to stick around and find out? (Inside, LUKESH still has REYES in his hold. He's crying.) LUKESH: You ruined everything, you bitch. You made me. You made me do it. REYES: Lukesh, don't... LUKESH (desperate): Shut up. Shut up. But you know what? This time I get to bleed you slow. (FOLLMER kicks the door in. With a sweeping glance of the room, he spots LUKESH with REYES and shoots LUKESH dead -- one gunshot between the eyes. SKINNER and SCULLY, followed by a team of backup, enter the apartment. FOLLMER reaches for REYES to comfort her while SCULLY checks on LUKESH’s condition. LUKESH is dead.) FOLLMER: Monica, you all right? (REYES has a stunned look on her face at the reality of what just happened. With LUKESH dead, how are they going to get her DOGGETT back?) FOLLMER: It's okay. It's okay. It's over. SCENE #20: [DOGGETT'S HOSPITAL ROOM] (It's late at night and the hallway is silent when MONICA approaches DOGGETT's hospital room. The hissing respirator and heart monitor beeping are the only sounds in the room. She pauses by the doorway, a lone figure looking in at DOGGETT lying in his hospital bed, knowing what she must do in order to make things right again. She crosses the threshold into the room and shuts the door. She deliberately locks it behind her.) (She approaches the hospital bed. DOGGETT is awake and fully aware that she is there. His eyes never left her from the moment she appeared in his doorway. MONICA pauses a moment to hold DOGGETT'S hand so that he might not die alone. They look at each other. The trust in his eyes evident. The sorrow flowing from hers. She reaches over and turns the heart monitor alarm off. She then slowly reaches over to the ventilator machine and turns it off. The ventilator no longer breathes for DOGGETT. DOGGETT no longer breathes for himself.) (In the end, it doesn't matter whether this was her DOGGETT or not, he is still DOGGETT. Closing her eyes, MONICA weeps as her friend and partner dies. She lets him go ... ) SCENE #21: [MONICA'S APARTMENT] (... MONICA opens her eyes. Her face wet with her tears. She hears a dial tone; the cordless phone gripped in her hands. She's no longer in the hospital room, but at home in her own apartment. It's no longer night, but day. She looks down at the phone puzzled and is interrupted by DOGGETT's voice as he rounds the corner to find her.) DOGGETT: Monica, forget about the plates, will ya? (MONICA turns around and stares at him. She is stunned speechless as she sees DOGGETT alive and well, standing before her. She is overwhelmed. She can’t believe that he’s there in front of her.) DOGGETT (puzzled): What's wrong? (DOGGETT takes another couple of steps closer to MONICA. Something is not right and he wants to know what it is. She finally takes a breath that spurs her into motion. She moves toward DOGGETT and wraps her arms around him needing to feel him solid and alive in her arms. With every moment that passes in silence, DOGGETT grows more worried.) DOGGETT (gently in her ear): Monica, what's wrong? (MONICA smiles and continues to simply hold on to him.) MONICA: I'm good ... [I'm] good ... (MONICA weeps as her friend and partner is alive in her arms. She will not let him go ... ) ========================== THE END ========================== In Loving Memory of RICKY LOYD ARREGUIN (January 24, 1985 - September 13, 2001) [Captioning sponsored by Fox Broadcasting Company Twentieth Century Fox Television and Toyota. Get the feeling. Captioned by media access group at WGBH access.Wgbh.Org For corrections / inaccuracies contact: steph@philedom2k.com Transcriptionist: intrepid (intrepidly002@yahoo.com) ========================== TV BEGINNING CREDITS & OS SITE CAST INFORMATION ========================== 9X05: 4-D #9ABX05 ORIGINAL AIR DATE: 12/09/2001 WRITTEN BY STEVEN MAEDA DIRECTED BY TONY WHARMBY Starring: GILLIAN ANDERSON as Special Agent Dana Scully ROBERT PATRICK as Special Agent John Doggett ANNABETH GISH as Special Agent Monica Reyes MITCH PILEGGI as A.D. Walter Skinner Also Starring: CARY ELWES as A.D. Brad Follmer DYLAN HAGGERTY as Erwin Timothy Lukesh ANGELA PATON as Mrs. Lukesh GIL COLON as Agent Rice MING LO as Dr. Kim Music by MARK SNOW Editor: SCOTT JAMES WALLACE Production Designer: COREY KAPLAN Director of Photography: BILL ROE, ASC Producer: TONY WHARMBY Producer: HARRY V. BRING Supervising Producer: DAVID AMANN Supervising Producer: PAUL RABWIN Co-Executive Producer: KIM MANNERS Co-Executive Producer: MICHELLE MacLAREN Executive Producer: JOHN SHIBAN Executive Producer: VINCE GILLIGAN Executive Producer: FRANK SPOTNITZ Written by: STEVEN MAEDA Directed by: TONY WHARMBY ========================== TELEVISION ENDING CREDITS ========================== Executive Producer: CHRIS CARTER Ten Thirteen Productions (in association with) 20th Century Fox Television (A News Corporation Company) Associate Producer: DENISE PLEUNE Executive Story Editor: STEVEN MAEDA Story Editor: THOMAS SCHNAUZ Co-Starring: Dr. Kim: MING LO Casting by RICK MILLIKAN, C.S.A. Unit Production Manager / Co-Producer: TIM SILVER First Assistant Director: BARRY K. THOMAS Second Assistant Director: NINA JACK Visual Effects Producer: MAT BECK Art Director: SANDY GETZLER Set Decorator: TIM STEPBEK Assistant Set Decorator: RON FRANCO Leadman: DAVE NAPOLI Script Supervisor: CAROL BANNER Gaffer: JONO KOUZOUYAN Key Grip: TOM DOHERTY Special Effects: KELLY KERBY Stunt Coordinator: DANNY WESELIS Visual Effects Supervisor: JOHN WASH Make-up Department Head & Special make-up: CHERI MONTESANTO-MEDCALF Special Make-up: MATTHEW W. MUNGLE Hair Department Head: DENA GREEN Make-up for Ms. Anderson: LAVERNE MUNROE Costume for Ms. Anderson: NADINE HADERS Costume Designer: LUELLYN HARPER THOMAS Costumer Supervisors: ROBERT JACOBS / JANNIFER SOULAGES Property Master: TOM DAY Camera Operator: JIM ETHERIDGE Steadicam Operator: STEPHEN COLLINS Locations Managers: ILT JONES / MAC GORDON / MICHELLE LATHAM Transportation Coordinator: STEVE DUNCAN Construction Coordinator: DUKE TOMASICK Sound Mixer: RON COGSWELL Production Accountant: NANCI ETHCELLS Production Coordinator: JASON A. SCHOMAS Script Coordinator: MICHAEL DALEY Researcher: KATRINA CABRERA ORTEGA Writers' Assistant: GABE ROTTER Post Production Coordinator: JASON HARKINS Original Casting by: RANDY STONE, C.S.A. Casting Associate: KIMBERLY NORDLINGER Casting Assistant: ELISHA GRUER Extras Casting: CENTRAL CASTING & CENEX Second Unit Director of Photography: BOB LABONGE First Assistant Director: XOCHI BLYMYER Second Assistant Director: STACI LAMKIN BOGGERI Gaffer: DON BIXBY Key Grip: JOEY KRAFT Sound Mixer: JIM LARUE Assistant Editors: DEBORAH CHALEW / JEFF CAHN Scoring Mixer: LAROLD REBHUN Music Editor: JEFF CHARBONNEAU DaVinci Colorist: ANTHONY R. SMITH Dallies Colorist: PETER RITTER On-Line Editors: KIP GIBSON / MARTY ROSENSTOCK Playback Coordinator: MARK MARCUM Post Production Sound: WEST PRODUCTIONS, INC. Sound Supervisors: HARRY ANDRONIS / JOE JOHNSTON Re-Recording Mixers: DAVE WEST / HARRY ANDRONIS / ERIC CLOPEN Vice-President, Ten Thirteen: MARY ASTADOURIAN Office Manager, Ten Thirteen: JANA FAIN Assistant to Chris Carter: BRAD FOLLMER Assistants to the Producers: SANDRA TRIPICCHIO / GENNIFER HUTCHISON / BLAKE MCCORMICK / GINGER WADLEY / STEPHANIE M. HERRERA Main Title Design by IMAGINARY FORCES Original Main Title Concept by: CASTLE / BRYANT / JOHNSEN Processing by DELUXE LABS Telecine & Electronic Assembly by HOLLYWOOD DIGITAL Presented in DOLBY SURROUND where available Camera Systems by PANAVISION This production has not been approved, endorsed, or authorized by the Federal Bureau of Investigation. Copyright (c) 2001 Twentieth Century Fox Film Corporation All rights reserved #9ABX05 Twentieth Century Fox Film Corporation is the author of this motion picture for purposes of copyright and other laws. The characters and events depicted in this photoplay are fictitious. Any similarity in actual persons, living or dead, is purely coincidental. Ownership of this motion picture is protected by copyright and other applicable laws, and any other unauthorized duplication, distribution or exhibition of this motion picture could result in criminal prosecution as well as civil liability. Last updated: 03/15/2002 ~lky