9X07: JOHN DOE 9ABX07 ORIGINAL AIR DATE: 01/13/2002 WRITTEN BY: VINCE GILLIGAN DIRECTED BY: MICHELLE MacLAREN ========================== 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 transcriptor and his/her VCR. Feel free to add on your own disclaimer for your particular site. For corrections / inaccuracies contact: steph@philedom2k.com ========================== < TEASER > SCENE #1: [OUTSIDE IN UNKNOWN MEXICAN TOWN] DAY ONE (DOGGETT is lying unconscious on the floor of a warehouse. He slowly gains consciousness and realizes that someone is stealing his shoe.) DOGGETT: Hey! Hey, damn it! (The CRACKHEAD successfully tugs DOGGETT's shoe off of his foot and warily backs away from him.) My shoe ... (The CRACKHEAD possessively holds on to DOGGETT's shoe and runs out of the empty warehouse. DOGGETT gets up and sways unsteadily on his feet. He's dizzy and his vision is blurred. Still, he takes off in pursuit of The CRACKHEAD who stole his shoe. DOGGETT rounds a corner wall just in time to see The CRACKHEAD leave the warehouse through a door. DOGGETT follows. He bursts through the door that takes him outside. The sunlight is absolutely blinding. As his eyes adjust to the bright light, DOGGETT sees The CRACKHEAD who stole his shoe round the corner of the building and takes off after him. As he rounds the corner, DOGGETT finds himself out on the main road of a dusty small town. The road isn't paved; it's dry and dusty. He's never been there before.) (He slowly looks around then notices The CRACKHEAD who stole his shoe sitting on a nearby bench measuring his newly acquired shoe against his own feet. DOGGETT takes off after him. The CRACKHEAD spots DOGGETT and runs in the opposite direction. DOGGETT is determined to get his shoe back and proves to be much faster than The CRACKHEAD who stole his shoe. Within seconds, DOGGETT catches up to The CRACKHEAD and pushes him up against the lamp post.) CRACKHEAD (in spanish): ***, ***! DOGGETT: Give me my shoe! (Behind him, a police car pulls up. THE CRACKHEAD notices the police car and draws DOGGETT's attention to them. Two police officers exit the car.) CRACKHEAD (in spanish): Policia! Policia! (The two police officers approach the two men.) DOGGETT: Misunderstanding, officers. I'm the victim here! The guy ripped me off. (DOGGETT holds up the shoe THE CRACKHEAD stole from him.) Here, look. (The Police officer isn't interested in DOGGETT's shoe. He grabs the shoe and tosses out into the empty road. He pulls out his baton and begins to poke and prod DOGGETT, who is surprised by this treatment. The other officer makes his way to The CRACKHEAD.) DOGGETT: Hey! POLICIA (in Spanish): Los Americano. Que es papeles? (The CRACKHEAD is being beaten by the other police officer with his baton. DOGGETT is distracted by the other man's beating. The police officer questioning him snaps his fingers to gain DOGGETT's attention.) POLICIA: Paper... paper. Visa... passport. (DOGGETT searches his pockets and finds nothing. He shakes his head, no.) POLICIA (in spanish): Que es tu nombre? Nombre? What is your... name? (DOGGETT thinks about the question, tries to remember and realizes that he doesn't.) DOGGETT: I-I... I don't know. < /TEASER > Captioning sponsored by Fox Broadcasting Company Twentieth Century Fox Television and Toyota. Get the feeling. Tag Line: The Truth Is Out There (COMMERCIAL SET #1) SCENE #2: [INSIDE MEXICAN POLICE STATION] DAY TWO (DOGGETT is inside an unknown Mexican Police Station with about a dozen other men. They are passive; he is agitated and clearly not happy about his situation. He is trying to get the guard's attention. He peels off his remaining shoe and starts hitting the jail bars with it, making a lot of noise in the process.) DOGGETT: Hey, guard! Come here! Andale! Hey, guard! Somebody come here! (Being unsuccessful in his attempt to attract the guard's attention, DOGGETT gives up and proceeds to put his one remaining shoe back on his foot. One of the Mexican men incarcerated with him, observes him and begins to chuckle at the sight. DOGGETT sees him and is clearly annoyed.) DOGGETT: Something funny? DOMINGO: Nice touch -- putting it back on ... your one shoe. DOGGETT: Yeah, well, maybe I like to hop. You speak English. Why didn't you say something before? DOMINGO: You weren't funny before. DOGGETT: Uh-huh. Where are we? What's the name of this place? DOMINGO: What, the jail? DOGGETT: The town? Tell me the name of the town. Tell me where I am. DOMINGO: San Gradura. DOGGETT: Mexico? DOMINGO: Man, if you can't remember you must have had one fine good time getting here. What's your name? (DOGGETT remains silent.) Damn, you don't know that either, huh? (Chuckling, the man stands up and approaches DOGGETT.) DOMINGO (to DOGGETT): Call you "one shoe." (to his fellow cellmates) Señor un zapato, huh? (The men laugh.) DOMINGO: Hey, One Shoe, what do you know? DOGGETT: I know I'm getting the hell out of here. DOMINGO: You got money to bribe the police? That's what it takes. DOGGETT: I just need to get to a phone and call the U.S. Embassy. DOMINGO: Yeah, they can get you home, I guess. Where is home? (He takes a step closer to DOGGETT and says quietly,) You know what I think, One Shoe? Maybe getting home is not in your best interest. DOGGETT: How's that? DOMINGO: This isn't Tijuana or Cabo. We don't see Americans in this town unless they're on the run from something, somebody. This town ... people like you come here to disappear. DOGGETT: People like me? You don't know me. DOMINGO: Hey... you don't know you. (DOMINGO walks away. DOGGETT is left with the echo of the truth of his words. The turns away from the group and faces out the jail door bars. He is clearly troubled.) SCENE #3: [PAST IN DOGGETT'S BEDROOM] <FLASHBACK> (A soft flash of light. DOGGETT is sleeping in a bed next to a blonde woman. The bed begins to bounce. We see a child's sneakered clad feel straddle DOGGETT on either side of him. A child's voice calls out to him.) LUKE: Daddy, daddy! </FLASHBACK> (DOGGETT wakes up back in the Mexican jail cell. The vision of what he saw unknown to him.) SCENE #4: [MEXICAN POLICE STATION] DAY EIGHT (Eight days later and there are almost three times as many men in the jail cell with DOGGETT. Keys jangle, the door opens and two men enter the room. One is the police officer opening up the jail cell; and the other is an unknown man. POLICIA: Domingo Salmeron. (DOGGETT watches as DOMINGO, the man who spoke with him, makes his way to the open jail cell and to freedom.) DOMINGO (in spanish): Eh ... Viero aqui celado NESTOR (in spanish): ***.A tiemo. (The Guard hands DOMINGO back his wrist watch.) DOMINGO: A vieros (As he leaves, DOMINGO glances back at DOGGETT. He points DOGGETT out to NESTOR.) DOMINGO (to NESTOR in spanish): *** GUARD: no mucho. por que. *** DOMINGO: Hey, one shoe nobody coming for you. You want to hop out of here with me? I've got a job for you. NESTOR: Domingo ... DOMINGO: Nestor ... (DOMINGO holds up his hand in silence.) DOGGETT: What kind of job? DOMINGO: What the hell do you care? (DOGGETT considers the offer.) SCENE #5: [OUTSIDE MEXICAN POLICE STATION] (The three men burst out of the COMISARIA DE POLICIA.) DOMINGO (to DOGGETT): You work hard, maybe I'll even buy you another shoe. Right one, left one ... your choice. (The two men stop by a car. DOGGETT keeps walking past the car.) Hey! Right here! DOGGETT: Thanks. Some other time. (DOGGETT keeps walking. He seems to know where he's going. He seems determined to get there. DOMINGO and NESTOR walk after DOGGETT.) DOMINGO: Hey! He-e-e-ey! (NESTOR reaches a hand out and grabs DOGGETT by the shoulder and turns him around. DOGGETT quickly shruggs NESTOR's hands off of him.) DOGGETT: You watch your hands. DOMINGO: You're bought and paid for. You understand? I own you like I own that car. DOGGETT: I'll pay you back your money. DOMINGO: You don't tell me what you'll do. I tell you what you'll do. (DOGGETT watches DOMINGO, turns and resumes to walk away from him. He gets no more than a couple of steps away, when NESTOR pulls out a gun and plants it in the middle of DOGGETT's shoulder blades. DOGGETT stops walking. He is more annoyed than frightened by the gun. DOGGETT turns around to face NESTOR. NESTOR confidently holds the gun at DOGGETT. Within a second, DOGGETT disarms NESTOR. He now has the gun and aims it at DOMINGO.) DOMINGO: This makes one thing we know about you. You're not a man of your word. (DOGGETT considers DOMINGO's words. He cautiously reaches over to pick up his one remaining shoe that he dropped. He empties the bullets from the gun and walks away, tossing the gun in the nearest trash can as he passes it by.) SCENE #6: [INSIDE UNKNOWN WAREHOUSE] (DOGGETT finds The CRACKHEAD who stole his other shoe back at the warehouse where he woke up. The CRACKHEAD is smoking and murmuring to himself.) CRACKHEAD (in spanish): *** (whatever this is in spanish) (The CRACKHEAD looks up and sees DOGGETT reaching for him. DOGGETT pulls The CRACKHEAD up. He is not happy.) DOGGETT: It fit good? Mi zapato. What else of mine you got? My wallet, my documents? Mi documentos? CRACKHEAD: No. No documentos ... DOGGETT: What else did you take from me? Show me what else you got. Show me! Show me! **** (The CRACKHEAD pulls out a small silver charm from his pocket and holds it for DOGGETT to look at. DOGGETT takes the charm. It's a silver skull. CRACKHEAD: Desaparecio. DOGGETT: Desaparecio? I'm desaparecido? (THE CRACKHEAD nods.) What does that mean? No comprendo. (THE CRACKHEAD raises his fingers and makes a hand motion similar to "poof". DOGGETT considers his words.) SCENE #7: [INSIDE UNKNOWN MEXICAN BAR] (Mexican music playing. DOMINGO is sitting at the bar next to NESTOR. He is drinking a can of Tecata beer with a sprinkle of salt and a dab of lemon. He's clearly enjoying his down time with his friend, NESTOR. NESTOR motions to DOMINGO and points out DOGGETT as he enters the bar. DOGGETT approaches the two men. He stands silently next to DOMINGO.) DOGGETT: What's the job? DOMINGO: We're movers. DOGGETT: What do you move? DOMINGO: Mexicanos, Guatemaltecos, sometimes even Chinese. Drive them up north, across the border into mcallen. DOGGETT: You're coyotes. DOMINGO: Don't turn your nose up at me. For all you know, you've spent your life fondling little boys. NESTOR: No digas que quieres trabajar con este hijo de perra. DOMINGO: You start tomorrow. I'd invite you to have a drink with us but Nestor hates you. They'll rent you a room upstairs. (He dismisses DOGGETT.) DOGGETT: I don't have any money. (DOMINGO pulls out some bills and gives DOGGETT some.) DOMINGO: First month's salary. Don't try and leave town. (DOGGETT takes the money and leaves. He turns around and holds out the small silver skull charm that he got from The Man who stole his shoe.) DOGGETT: This mean anything to you? (NESTOR recognizes the charm.) DOMINGO: Not a thing other than the fact that you have silver in your pocket and you still ask me for money. (DOGGETT takes his charm and walks away.) NESTOR (in spanish): Why are you doing this? It's a bad idea, Domingo. You don't know what this one wants. (DOMINGO shrugs him off.) DOMINGO: He just wants to remember. Same as all the rest. (NESTOR doesn't like it one bit.) SCENE #8: [UPSTAIRS IN DOGGETT'S ROOM] (DOGGETT turns on the light in his room upstairs. He's looking at himself in the mirror. He's doing a self examination, trying to get clues to his past. He notices two marks on his head at his hairline. One on either side of his head. Still looking at the mirror, he takes his shirt off, looking for more clues. He notices a tattoo on his upper left arm.) DOGGETT: I'm a marine. Semper fi. SCENE #9: [OUTISDE STREE BELOW DOGGETT'S ROOM] (Meanwhile, a cigarette-smoking man wearing a charm bracelet made up of silver skull charms watches DOGGETT's silhouette through the curtained window from the street below. The same silver skull charm that DOGGETT has. One of the charms on his bracelet is conspicuously missing.) (COMMERCIAL SET #2) SCENE #10: [KERSH'S OFFICE] DAY TWELVE KERSH: A.D. Skinner, Agent Scully. What's this I'm hearing about Mexico? SCULLY (hands KERSH a photograph): Well, this came in last night from U.S. Customs. It's a blowup from a security camera at the border crossing in Laredo Texas. It was taken at 12:50 A.M. On the morning of the fourth. KERSH: We're sure this is Doggett? SKINNER: It's been scanned to Agent Reyes. She also believes it is him. KERSH: I'd say this reshapes the investigation. SKINNER: It's our first solid lead. Now, with your permission, I'd like to contact our Legat's office and extend our task force south of the border. KERSH: I'm not extending the task force. I'm disbanding it. SCULLY: Excuse me? KERSH: I see no other choice. For the past 12 days I've had 40 agents working overtime scouring the entire state of Texas in what appears to be a waste of effort. I can't move them lock, stock and barrel into Mexico -- not on the strength of this. Turn it over to the Mexican Federal police. Doggett's in their jurisdiction, not ours. SCULLY: Sir, he could be injured. KERSH: Whether you believe it or not I want to find him as badly as you do. But the FBI's resources are already taxed by national security concerns. There are political realities I have to account for. SKINNER: Sir... Agent Reyes is still in San Antonio. She was raised in Mexico. She could offer the federal police some on-site help. KERSH: She can help them all she wants. But from this side of the border. (KERSH hands the photograph back to SCULLY.) SCENE #11: FBI FIELD OFFICE SAN ANTONIO, TEXAS (REYES is interviewing MR. MOLINA, his law sits next to him.) REYES: Mr. Molina, you're a hard man to get an audience with. I've been trying for the better part of two weeks. What's keeping you so busy? MR. MOLINA: Selling tractors. I own the biggest farm equipment dealership in South Texas: AGCO, John Deere, New Holland, CAT.. REYES: Impressive. (in Spanish) What about drugs? Are they on your inventory, too? You know... cocaine, AGCO, John Deere? MR. MOLINA'S LAWYER: I'm sorry, I don't speak Spanish. MR. MOLINA: She says I sell drugs. MR. MOLINA'S LAWYER: Please don't speak Spanish anymore. (REYES opens a folder in front of her and pulls out a photograph. She places the photograph in front of MR. MOLINA.) REYES: You know Hollis Rice, don't you? Vice president of Pan American mercantile? (MR. MOLINA picks up the picture and studies it.) MR. MOLINA: Sure. I do business with this man. I know he's missing. REYES: My partner, John Doggett, was investigating his disappearance. I'm betting my partner came to you with questions. MR. MOLINA: When would this have happened? REYES: Two weeks ago. MR. MOLINA: No, sorry. I don't remember any person named Doggett. MR. MOLINA'S LAWYER: Agent, I don't quite know what you're implying. Mr. Molina's an upstanding businessman and a pillar of the commun... REYES: "pillar of the community?" Does anyone actually use that phrase except mob lawyers? I'll tell you what's clear to me. You're some kind of middleman in a smuggling operation. Hollis Rice laundered money for your cartel until something went wrong. Maybe he got greedy, maybe he talked too much. Your cartel made him disappear. MR. MOLINA'S LAWYER: Agent... REYES: My partner has disappeared, too. He's in Mexico, I know that much and I will find him, whatever it takes. Your only personal hope for the future is that I find him alive. Now where is he? MR. MOLINA'S LAWYER: Unless my client is under arrest this meeting is over. No? Come on, Mariano. (MR. MOLINA'S LAWYER stands up and leaves. MR. MOLINA stands. REYES stands and stops MR. MOLINA before he leaves.) REYES (Whispering): Think hard about your future, Mr. Pillar of the Community. (MR. MOLINA leaves.) SCENE #12: [PAST IN DOGGETT'S BEDROOM] < FLASHBACK> (A little blonde-haired boy is jumping on DOGGETT's bed. DOGGETT is lying down on the bed. The little boy is eager.) LUKE: Daddy. DOGGETT: Hmm? LUKE: Get up, I want to show you something. Come on. (The little boy jumps down from the bed and turns to get DOGGETT. DOGGETT glances at the bedside clock. It reads 5:28 a.m. LUKE: Let's go, Daddy! Come on! Please! [Closed Caption reads that LUKE says instead:] Daddy, daddy, daddy! DOGGETT: Can it wait another hour? LUKE: No. DOGGETT: Why, what is it? LUKE: A surprise. Come on ! DOGGETT: Shh, don't wake your mom. (DOGGETT gets out of bed.) </FLASHBACK> SCENE #13: [INSIDE UNKNOWN BUILDING] (DOGGETT'S in pain. The bits of memory flashback causes him pain. A phone is ringing. He notices that the phone is ringing. The people around him are staring at him. The phone continues to ring.) WOMAN AT COUNTER: Señor? Señor? Cabina tres. (The woman indicates the ringing phone. DOGGETT rises to get the phone.) STAFF SERGEANT McCORMICK (in USA): Marine Corps Public Affairs Office. Staff Sergeant Mccormick speaking. DOGGETT: Yeah, uh ... this is Detective, uh... (DOGGETT looks around his environment trying to think up a name to give the Staff Sergeant on the phone.) ..Ladatel calling from Mexico. I'm hoping you can give me some help. STAFF SERGEANT McCORMICK: Yes, sir, if I can. DOGGETT: We've got a marine down here who's been hit by a taxicab. He's been messed up pretty good. He doesn't remember his own name. He doesn't have any ID. We need to contact his family. I assume there's somebody somewhere who's worrying about him. STAFF SERGEANT McCORMICK: Any chance you can give me a social security number or a date of birth? DOGGETT: No, unfortunately, uh, the only thing I have to go by is there's a tattoo on his left shoulder that says "24th M.A.U. We shall not forget." You have any idea what that means? STAFF SERGEANT McCORMICK: Yes, sir, I do. The 24th Marine Amphibious Unit. It refers to the Lebanon barracks bombing in 1983. That narrows things down. DOGGETT: Yeah, good, good. This guy's, I don't know, he's six feet, 190 pounds. Brown hair, blue eyes, about 40 years old. If you could just put a name to him. If you could just tell me anything at all about him. Anything. STAFF SERGEANT McCORMICK: We'll definitely look into it. (The Door to the establishment opens. DOGGETT sees a couple of the corrupt policia walk in and talk with the woman behind the counter.) STAFF SERGEANT McCORMICK: Detective, do you have a number where I can reach you? Detective? ... ? (The camera moves from the policia and the woman to the telephone that's back on its hook. DOGGETT is not there.) SCENE #14: [IN DOMINGO'S GARAGE] (Man speaking spanish over radio. The sounds of a engine revving can be heard. DOGGETT is hard at work on the bus' engine. NESTOR sits in a nearby chair reading the paper. He is not working. DOMINGO walks into the garage.) DOMINGO: Hey. Sounding good. DOGGETT: Sounding better than it was. It won't sound good until it gets new seals. (DOMINGO turns to NESTOR. He says something in spanish and gives NESTOR's chair a kick. NESTOR doesn't like being compared to DOGGETT.) DOMINGO (in spanish): ???. (DOMINGO turns to lavish praise on DOGGETT who really isn't paying much attention to DOMINGO. NESTOR, however, notices and isn't happy about it.) DOMINGO: Thank god I got somebody worth a damn. If you'd only drive for me. DOGGETT: You got a few odd jobs, fine. I'm not breaking the law for you. DOMINGO: A man of principle... as far as you know. (DOMINGO takes out a folded piece of paper from his pocket. He unfolds it.) DOMINGO: Found something out about you today. (DOGGETT turns around to give DOMINGO his attention. DOMINGO hands the unfolded piece of paper to DOGGETT. It's a Mexican wanted sheet. "Se Busca".) DOMINGO: You're not going to like it. Says your name is Henry Bruck. The Federales are looking for you in connection with a double murder. Doesn't give details but that description's you as far as I can see. Don't take it so hard. A man does what he does. I'm not judging you. Just keep away from the Federales, okay? We'll keep you safe. (DOMINGO walks away leaving DOGGETT with the wanted sheet. NESTOR sits in his seat seething his hatred of DOGGETT.) SCENE #15: [MEXICAN BAR] (NESTOR is walking on the lone road just outside the Mexican bar. Inside the bar, NESTOR approaches the DRUG CARTEL MAN with the silver skull charm bracelet. He is the same man who was standing outside under DOGGETT's apartment room.) NESTOR (in spanish): May I speak with you? (The DRUG CARTEL MAN nods his head. NESTOR sits down opposite him.) NESTOR (in spanish): You know Domingo, my boss? He's a friend to the Cartel, as am I. Domingo took on one of the disappeared ones. An American. But this American, whoever he is, is different. (The DRUG CARTEL MAN finally looks at NESTOR.) I sense I'm telling you something you already know. DRUG CARTEL MAN: He's an FBI agent. NESTOR: Why is he still alive? DRUG CARTEL MAN: Same as everyone, I take my orders from the Cartel. My orders didn't mention killing the man. Of course, if he were to die tonight, it's no concern of mine. (NESTOR listens intently to the man and hears what he is saying.) SCENE #16: FBI FIELD OFFICE SAN ANTONIO, TEXAS (SCULLY walks into the empty office. She's seen speaking briefly with an agent standing nearby. He points across the room and hands her a piece of paper. She takes the piece of paper from him and makes her way toward REYES.) SCULLY: Monica. REYES: Dana. SCULLY: Surprise, surprise. REYES: How did you escape Kersh's cost-cutting regimen? Did you see? He shut us down. SCULLY: Well, actually he doesn't know that I'm here. Nor does he know that Skinner is headed to Mexico to consult with the federal police. SCULLY: Perfect timing, I hope. Look what just got handed to me. (SCULLY shows the piece of paper to REYES.) This says that someone in Mexico is trying to track down a former marine matching Doggett's description. It says that he was in an accident and possibly suffering from amnesia. (REYES looks at the paper. She notices something.) REYES: Wait... Detective Ladatel? SCULLY: Yeah, that's who placed the call. Does that sound familiar to you? REYES: Ladatel is a Mexican telephone calling card. SCULLY: We'll trace the call. (SCULLY walks out of the room to follow up on the information.) SCENE #17: [DOMINGO'S GARAGE] (It's nighttime. DOGGETT is still working under the bus. He pauses to look at the silver skull charm. Footsteps interrupt his thoughts.) DOGGETT: Domingo, is that you? (The footsteps approach. It's NESTOR.) Siempre trabajo. NESTOR: I speak English, by the way. DOGGETT: Yeah? NESTOR: Yeah. See you in hell, FBI. (NESTOR pulls out his gun and aims it at DOGGETT. DOGGETT reaches over and brings the bus down on NESTOR's foot, crushing it. NESTOR screams in pain. He pulls his foot loose from under the weight of the bus and limps to find DOGGETT to finish the job. He looks under the bus, but DOGGETT is not there. He looks nervously around the darkened garage. DOGGETT jumps down from above. The gun fires.) (COMMERCIAL SET ##) SCENE #18: [DOMINGO'S GARAGE] (DOMINGO's car drives down the road and stops right outside his garage. He enters the garage and notices the silence and a body on the floor.) DOMINGO: Nestor? (He rushes to the body. NESTOR has been shot in the forehead.) [Closed-caption only: Oh, god, no!] Nestor! (DOMINGO hears a noise behind him. He turns.) You? (DOGGETT is standing there in the dark.) DOGGETT: Did you send him after me? DOMINGO: What? What's that mean? DOGGETT (pointing the gun toward DOMINGO): Did you send him to kill me? Tell me who I am. (DOMINGO turns away from DOGGETT toward his dead friend, NESTOR.) DOMINGO: I don't know who you are. DOGGETT: Tell me who I am! (DOMINGO rises to face DOGGETT.) DOMINGO: I don't know, you son of a bitch! But you killed my friend. You're a killer. That's who you are. ( Gun cocking ) DOMINGO: Desaparecido. You're one of the disappeared ones. DOGGETT: What's that mean, disappeared? Disappeared by who? DOMINGO: The cartel. They own the town -- everything and everybody. People who make trouble for them wind up dead. Other people who make more trouble dead than alive get this. DOGGETT: They took away my memory? How?! How do I get it back? DOMINGO: You don't. That's the point. (DOGGETT stares at DOMINGO. He has a flashback.) < FLASHBACK > SCENE #19: [PAST IN DOGGETT'S BEDROOM] (Fast-forward through the flashback memories he's already had. DOGGETT is lying in bed. The little blonde-haired boy is jumping on the bed trying to wake him up. The boy jumps down. He glances at the clock. The boy gets him up eager to show him his surprise. DOGGETT gets out of bed to follow the little boy.) LUKE: Daddy, daddy? ... Get up, I wanna show you something. C'mon! Come on. Come on! < /FLASHBACK > (The pain is incapacitating DOGGETT. He falls to his knees, the gun still clutched in his hand. DOMINGO stands above him witness to his pain. He approaches DOGGETT and carefully removes the gun from his grip and puts it aside. DOGGETT's head is in his hands; he's still in pain. DOMINGO hits DOGGETT and proceeds to beat the crap out of him.) SCENE #20: [OUTSIDE POLICIA STATION] (A photograph of DOGGETT is placed on the table. POLICIA (in Spanish): Who's asking? (A bill is slipped on top of the picture.) REYES (in Spanish): Just a concerned party. (The policia looks down at the money.) POLICIA: May I see some identification? (REYES hands him her Mexican ID. The policia is sitting in a chair having his shoes shined. He takes the ID and studies it.) POLICIA: You're Mexican? REYES: Born and raised. (She slips another bill on top of the first.) REYES: Please, help me brother. He ran out on me and my kids. (The POLICIA stands up. His shoe shine is completed. He hands REYES her ID back and picks up the money.) POLICIA: Come to think of it, our previous shift came upon an American. They reported he'd been beaten very badly, sorry to say. REYES: Where is he now? SCENE #21: (The policia pulls a curtain back. REYES enters the room. There is a body on a table covered with a sheet. REYES enters the room slowly. She looks down on the body. The sheet is covering the person's face, only his forehead and hair are exposed. Looking down, she removes the sheet covering the person's face. It is not DOGGETT.) POLICIA: I apologize. It's not the one in your photo. Just some homeless gringo. I guess. (She leans in and notices markings near the top of the man's hairline. One on each side.) REYES: What are those? (The policia shakes his head. He doesn't know.) SCENE #22: [NEXT DAY IN THE MEXICAN BAR] DAY THIRTEEN (THE DRUG CARTEL MAN sits alone at his table reading the paper and having something to drink. DOMINGO nervously enters the bar and approaches the man. He doesn't sit down.) DOMINGO (in spanish): Sir, my friend Nestor is dead. (THE DRUG CARTEL MAN indicates that DOMINGO should sit.) DOMINGO (in spanish): I come to you because I realize Nestor would not have tried to kill the American without your permission. DRUG CARTEL MAN: Where is the American now? DOMINGO: I left him lying in my garage. He held a gun on me, but I took it from him. DRUG CARTEL MAN: You killed him? DOMINGO: I left him there for you. DRUG CARTEL MAN: You talked with the American while he held a gun on you? (DOMINGO nods.) What did you tell him? (DOMINGO looks nervous.) DOMINGO: Nothing. (THE DRUG CARTEL MAN leans forward, closer to DOMINGO.) DRUG CARTEL MAN: I find that hard to believe. I'm afraid I'll have to see with my own eyes. (DOMINGO looks scared now. THE DRUG CARTEL MAN's eyes begin to glow and he raises his hands toward DOMINGO's temples. He presses his thumbs into DOMINGO's forehead. THE DRUG CARTEL MAN's eyes glow an eerie shade of yellow.) SCENE #23: [NEXT DAY IN DOMINGO'S GARAGE] (DOGGETT is lying on the garage floor. He is in pain from being beaten by DOMINGO. He groans. He rises. He turns to see NESTOR lying dead on the floor nearby. He hears a car approaching outside and gets up to check it out. Through the window, he sees a car pull up next to the building. Fearing for another attack, he grabs the nearest crow bar and waits beside the closed door. The door opens and REYES walks in with her gun drawn. DOGGETT swings. REYES ducks. She turns around and points the gun at DOGGETT who has his hands deceptively up in surrender.) REYES: John I've been looking for you everywhere. (DOGGETT disarms REYES and slams her up against the bus. REYES doesn't put up a fight. DOGGETT centers the gun at REYES.) DOGGETT: Who the hell are you? REYES: I'm your partner Monica. Your name is John Doggett. You're an FBI agent. Do you remember? John, trust me. We got to leave. I'll explain it in the car but we're not safe here. (DOGGETT hesitates, then lowers the weapon and lets REYES go. Outside, more cars are approaching. The two agents glance out the window and see three corrupt policia cars surround the building and block the only access road out. The policia exit the cars and draw their weapons on the two agents inside the building.) (COMMERCIAL SET #3) SCENE #24: [DOMINGO'S GARAGE] POLICIA (in spanish): (Speaking spanish through a blowhorn.) (REYES is standing by the window listening to what the POLICIA outside is saying. DOGGETT is chaining the door shut.) REYES (interpreting): They're telling us to come out. DOGGETT: Sure, they want us to make it easy for them. Cartel owns the cops in this town. REYES: They're going to kill us. DOGGETT: They're going to try. (Looking at each other, the two make a decision to fight and not give in.) DOGGETT: Take cover. It won't be long before they get tired of waiting. (REYES and DOGGETT move further into the garage behind the protection of the bus. REYES crouches. DOGGETT remains standing; her gun in his hands.)) DOGGETT: So, we're partners, huh? How long we been working together? REYES: Not long. But we've known each other for years. POLICIA (outside): (Police speaking spanish ) REYES (interpreting): They're giving us one minute. (DOGGETT crouches next to REYES. He wants more information about himself and the flashes he remembers.) DOGGETT: What's the name of my son? Think it's weird. It's the only thing I can remember is I have a son. I can see his face, but I can't remember his name. REYES: Luke. DOGGETT: Luke. How old is Luke? I can't even remember that. (REYES doesn't want to tell him the truth about his son, and yet, she can't lie to him. She turns to face DOGGETT, but is unable to say the words. DOGGETT watches REYES and is able to comprehend what she's not saying.) DOGGETT: Oh, god. Oh, god, no. (DOGGETT remembers what happened to LUKE.) He's dead. He was murdered. Is that right? Is that right?! (REYES still doesn't answer. She nods her head slightly.) He was kidnapped. He was just a little boy ... he was ... oh! (DOGGETT can't continue. His grief is overwhelming.) REYES: The FBI got involved. I was assigned to the case. That's when you and I met. DOGGETT: Oh, god! (The glass window breaks and a cannister of smoke rolls along the dirty garage floor. REYES sees this. The POLICIA outside have grown tired of waiting. Smoke fills the garage.) REYES: Oh, god, John, they're smoking us out. John, I need you here. I need you to focus here, John. (REYES grabs her gun from DOGGETT. She throws an old worn cloth over the smoking cannister and throws it back out the window. She's coughing. The Policia see her by the window and begin firing on the garage. Another smoking cannister is fired into the garage. REYES gets off a couple of shots then goes back to the grieving DOGGETT.) REYES (firmly): John! John! (She grabs ahold of his shirt.) If we're going to die here you're going to die on your feet! You hear me? (She shakes him.) Do you hear me?! (DOGGETT raises his head and gets control of himself. The Gunshots haven't let up.) DOGGETT: Get in the bus. (Outside, the Policia are still firing at the garage. Suddenly, the bus crashes through the closed door. The policia scramble to get out of its path. DOGGETT is driving the bus backwards and away from the policia. The policia start shooing at DOGGETT who drives the bus faster.) DOGGETT: Hang on! (The bus tilts over on its side. The policia slowly advance toward the tilted bus. They stop firing, but are approaching the bus. DOGGETT and REYES watch. >From nowhwere, three Mexican Federal SUVs appear between the flipped over bus and the policia. The policia are stunned as the Mexican Federal Police start apprehending them. Skinner, in his FBI jacket, exits one of the vehicles and looks for his agents. He approaches the bus and sees DOGGETT.) SCENE #25: [BAR] (The silver skull charm hits the table. The DRUG CARTEL MAN picks it up and looks at it. DOGGETT is standing before him. Behind him near the door, Skinner, Reyes and several Mexican Federales wait.) DOGGETT: You work for the cartel. You make their enemies disappear. Desaparecido. You understand me? DRUG CARTEL MAN: I speak English, but I don't understand you. DOGGETT: Like hell you don't. (DOGGETT indicates the markings on his head.) You gave me these ... when you took my memory. I have no idea how you do it but everything I am, everything I have my identity, you robbed that from me. DRUG CARTEL MAN: I don't know who has been saying those things to you. How can you prove them? DOGGETT: I was searching for a man, a banker from Texas ... Hollis Rice was the banker. He was out of his mind. He didn't even know his name. You robbed him of that. And then you tried to do the same thing to me. You failed, you son of a bitch. I remember everything. SKINNER: Agent Doggett leave him to us. (DOGGETT considers the man before him, then turns to leave. He stops at the DRUG CARTEL MAN's words. DRUG CARTEL MAN: Why would you want to remember? You can't tell me you're happier now because you recall your life. I saw it all. So much pain. Why would you want to struggle so long and hard to get that pain back? DOGGETT: Because it's mine. SCENE #26: [DOGGETT'S PAST] < FLASHBACK > (LUKE leads his father outside. He goes to his red two-wheeler, gets on it and begins riding around.) LUKE: Look, daddy! I can do it. (DOGGETT watches. Clearly, sharing the joy in his son's achievement.) < /FLASHBACK > SCENE #27: [OUTSIDE IN UNKNOWN MEXICAN TOWN] (DOGGETT is leaning against the police SUV on the dusty road. REYES approaches him and stops in front of him.) REYES: John ... I'm so sorry ... about Luke and about you having to relive that. DOGGETT: I'll take the bad as long as I remember the good. ========================== THE END ========================== [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 Transcriptor: intrepid (intrepidly002@yahoo.com) ========================== TV BEGINNING CREDITS & OS SITE CAST INFORMATION (where available) ========================== 9X07: JOHN DOE #9ABX07 ORIGINAL AIR DATE: 01/13/2002 WRITTEN BY: VINCE GILLIGAN DIRECTED BY: MICHELLE MacLAREN 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 Assistant Director Walter Skinner Created by Chris Carter Also Starring: James Pickens, Jr. Guest Starring: Frank Roman Ramon Franco Zitto Kazann Rene Rivera Eduardo Antonio Garcia F. J. Rio Music by Mark Snow Editor: Lynne Willingham, A.C.E. 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: Vince Gilligan Directed by: Michelle MacLaren ========================== TELEVISION ENDING CREDITS ========================== 9X07: JOHN DOE ORIGINAL AIR DATE: 01/13/2002 9ABX07 Executive Producer: Chris Carter Associate Producer: DENISE PLEUNE Executive Story Editor: STEVEN MAEDA Story Editor: THOMAS SCHNAUZ Co-starring: Mrs. Doggett: BARBARA PATRICK Luke Doggett: ZACHARY HANDY Luke Doggett: Jacob Handy Marine Sergeant McCormick: BO KANE Crackhead: LUIS ROBLEDO Bartender: ALFRED DE CONTRERAS Lawyer: CHARLIE HARTSOCK Operator: LUCY RODRIGUEZ 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 STEPECK Assistant Set Decorator: RON FRANCO Leadman: DAVE NAPOLI Script Supervisor: CAROL BANKER 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 Costumer for Ms. Anderson: NADINE HADERS Costume Designer: LUELLYN HARPER THOMAS Costume Supervisors: ROBERT JACOBS / JENNIFER SOULAGES Property master: TOM DAY Camera Operator: JIM ETHERIDGE Steadicam Operator: STEPHEN COLLINS Location Managers: ILT JONES / MAC GORDON / MICHELLE LATHAM Transportation Coordinator: STEVE DUNCAN Construction Coordinator: STEVE DUNCAN Construction Coordinator: DUKE TOMASICK Sound Mixer: RON COGSWELL Production Accountant: NANI ETCHELLS 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 Assistant Editors: JEFF CAHN / DEBORAH CHALEW Scoring Mixer: LAROLD REBHUN Music Editor: JEFF CHARBONNEAU DaVinci Colorist: ANTHONY R. SMITH Dallies Colorist: PETER RITTER On-Line Editors: KIP GIBSON / MARTY ROSENSTOCK Post Production Sound: WEST PRODUCTIONS, INC. Sound Supervisors: HARRY ANDRONIS / JOE JOHNSTON Re-Recording Mixers: DAVE WEST / HARRY ANDRONIS / SAM BLACK 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 Deisng 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) 2002 Twentieth Century Fox Film Corporation All rights reserved #9ABX07 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.