4-D

9x04 Dæmonicus Lord of the Flies The X-FilesSeason 9

 WRITTEN BY

Steven Maeda

 DIRECTED BY

Tony Wharmby

 AIRED ON

December 9, 2001

 RUNTIME

44 minutes

 STARRING

 VIEWS

453

 LAST UPDATE

2024-08-13 08:30:06

 PAGE VERSION

Version 4

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 SUMMARY

Agents Doggett and Reyes are called in to investigate when the inmate escapes custody by inexplicably phasing through prison walls. As they delve into the inmate's history, they uncover a series of unsettling experiments conducted by a rogue physicist who was studying dimensional anomalies. The episode explores the boundaries of scientific experimentation and the consequences of tampering with fundamental laws of physics. It blends elements of science fiction and suspense as the agents race against time to apprehend the fugitive and prevent further chaos, delving into themes of power, control, and the unforeseen consequences of pushing the boundaries of human knowledge in the X-Files universe.

 STORY

No story yet.

 BEHIND THE SCENES

• Fourth dimension: There are three conventional spatial dimensions: length (or depth), width, and height, often expressed as x, y and z. x and y axes appear on a plane Cartesian graph and z is found in functions such as a "z-buffer" in computer graphics, for processing "depth" in imagery. The fourth dimension is often identified with time, and as such is used to explain space-time in Einstein's theories of special relativity and general relativity. When a reference is used to four-dimensional co-ordinates, it is likely that what is referred to is the three spatial dimensions plus a time-line. If four (or more) spatial dimensions are referred to, this should be stated at the outset, to avoid confusion with the more common notion that time is the Einsteinian fourth dimension.
• If time is the "fourth dimension", an additional spatial dimension would be referred to as the fifth dimension. The implications of another spatial dimension are now discussed. This would be orthogonal to the other three spatial dimensions. The cardinal directions in the three known dimensions may be referred to as up/down (altitude), north/south (latitude), and east/west (longitude). When speaking of the fourth spatial dimension, an additional pair of terms is needed. Attested terms include ana/kata (sometimes called spissitude or spassitude), vinn/vout (used by Rudy Rucker), and upsilon/delta.

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 REVIEWS

Bad

Written by Pike on 2017-10-01
★ ★

Bad
___________________________________________

Tribute to Agent Reyes

Written by Gruic on 2019-02-12
★ ★ ★

Long time ago, I liked the episode but on the same time I was sad that's that was not Scully and Mulder during the last scene. Today, after season 10 and 11, I'm very glad that Reyes and Doggett could have that very special moment together.

Skinner on the field is amazing, that's sad they had to cut 2 scenes of him.

Lukesh is a good character. Slaughterer, giving tongues to his mother... he is like a preadator we could find on a MillenniuM episode.

The music is amazing. The theme song "Pulling the Plug" by, of course, Mark Snow, is one of my favourite of the whole series.

A very good episode.

 SCRIPT

 TRANSCRIPT

SCENE 1
(A man, ERWIN LUKESH, pauses momentarily in front of a mirrored glass door, before entering his apartment building. Once in the foyer, he picks up a newspaper, the DC Weekly, and glances at the front page. We notice REYES, kneeling behind him attending to the rear derailleur of her racing bike. She notices him and looks up.)

CUT TO:

(DOGGETT and FOLLMER are watching the foyer on a monitor screen. We see they are monitoring LUKESH. We see a curved mirror mounted on a wall, the type used to see other people approaching from around a corner. LUKESH looks up at it.)

DOGGETT: He's looking right at us. Fifty bucks says it's Lukesh and he knows we're here. Does it look like him to you?

(LUKESH looks over towards REYES, who has her back to him.)

FOLLMER: Let him get to the mailbox.

DOGGETT: It's Lukesh. I don't need him opening his mailbox to prove it.

FOLLMER: Patience, Agent Doggett.

DOGGETT: We have an agent alone with a sicko who 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. Now, open the 4-D.

(FOLLMER picks up his walkie-talkie and contacts REYES, who is still attending to her bike.)

FOLLMER: Agent Reyes, stand by.

(LUKESH, standing in front off a bank of storage lockers, suddenly walks off.)

DOGGETT: What the hell is this?

(REYES puts down her tools and takes out her handgun, following LUKESH.)

DOGGETT: Monica, don't.

FOLLMER: Agent Reyes - keep your distance. Don't let him see you following.

(We see REYES on the monitor briefly, her gun ready, until she slowly moves out of the frame in pursuit of LUKESH.)

(REYES is now following LUKESH around the gloomy corridors of the apartment building. A door closes ahead of her and she investigates. She opens the door and enters.)

DOGGETT: Monica, where are you?

REYES: In a stairwell. I lost sight of him. I think he might be (LUKESH suddenly appears and smacks REYES' gun from her hands. She screams.)

REYES: AGHHH!

(DOGGETT and FOLLMER burst out of the back doors of a white van parked on the side of the street. They are both wearing blue FBI jackets. They run into the apartment block. They race through the lobby towards the stairwell. They enter cautiously and find REYES lying slumped against the stairs, her mouth bloodied.)

FOLLMER: Agent down, back stairwell, get EMS here now!

(REYES is still, her eyes open. FOLLMER is holding her. He shouts to DOGGETT, who is now outside the building.)

FOLLMER: Doggett! He's got her gun!

(DOGGETT is at the side of the building, and spots LUKESH walking away in the distance, slowly.)

DOGGETT: Erwin Lukesh! Federal Agent! Turn around, you son of a bitch.

(LUKESH stops, and turns around slowly to face DOGGETT. His hands are covered in blood. We hear police sirens at the roadside and DOGGETT turns his head briefly to motion them to where LUKESH is. Two cars park at the entrance to the dead-end, blocking it off.)

DOGGETT: Back here!

(His head turned only momentarily, as soon as he turns back around to face LUKESH he finds him gone. The dead end street is entirely empty, LUKESH having nowhere to have hidden. DOGGETT, with his gun aimed in front of him, slowly moves down the street. Suddenly, we see LUKESH appear behind DOGGETT as the camera tracks forward. LUKESH, armed with REYES' gun, is aimed straight at DOGGETT's back. DOGGETT continues to check the street, unaware of LUKESH behind him. Suddenly he stops, and quickly turns around, intent on shooting LUKESH, whom he has now sensed standing behind him. LUKESH manages to get off the first shot.)

[Fade to black]




[OPENING CREDITS] [OPENING CREDITS] [OPENING CREDITS] [OPENING CREDITS] [OPENING CREDITS]
[TAGLINE, THE TRUTH IS OUT THERE, is shown reversed from right to left.]




SCENE 2
(REYES' new apartment. She is unwrapping an antique looking metal framed mirror from some bubble-wrap material. She looks as though she has only just moved in. DOGGETT appears in the open doorway, knocking on the door to alert her. REYES turns around and sees him. To moves towards the door to welcome him in. He's carrying a parcel in his hand.)

REYES: Hey!

DOGGETT: So, this is how the uptown crowd lives, huh?

REYES: This is it!

DOGGETT: So have you got anything really heavy that I can move for you, a dresser, a fridge.

REYES: No, but thank you, John, you just missed movers.

DOGGETT: You don't say?!

DOGGETT: I brought you a housewarming gift.

(DOGGETT gives her the parcel. She unwraps it straight away. A white bag. She smells inside it.)

REYES: Hot dogs?

DOGGETT: Polish sausage! It's the best in the city, there is a . You'll be able to walk to it.

REYES: Wow.

DOGGETT: Try one.

(She takes a hotdog from the bag and smells it again. DOGGETT is already eating his.)

REYES: Mmmm. I'm back in Gdansk.

(DOGGETT has managed to get some ketchup around his mouth. REYES extends her arm and wipes it from his mouth with her finger. They share "a moment". DOGGETT is frozen. REYES says nothings, and moves away again.)

REYES: Let me get some plates.

DOGGETT: Plates? For crying out loud... who eats Polish sausage with plates?

(REYES' cell phone rings as she is sorting out some plates on the kitchen counter. She answers.)

REYES: (on phone) Hello?

SKINNER: (on phone) Agent Reyes, it's AD Skinner.

REYES: (on phone) Yes, sir?

CUT TO:

(SKINNER is standing in the street from the opening scene, talking to REYES on his cell phone.

SKINNER: There's no easy way to say this, I'm sorry to do it on the phone.

REYES: What is it?

SKINNER: It's Doggett. He's been found in an alley off Dillon Park. He's been shot.

(We see three men lift a gurney from the ground, somebody lying motionless on it.

REYES: (Disbelieving) I'm sorry, what did you say?

SKINNER: They're taking him in the Washington Memorial. Agent?

REYES: Sir, what you're saying is ...

(REYES notices her apartment is empty. DOGGETT is nowhere to be seen. REYES turns her head in disbelief, looking for her partner. SKINNER checks to see if she is still there.)

SKINNER: (on phone) Agent Reyes? Agent Reyes?

CUT TO:

(A lift opens. REYES gets out. We see we are at the hospital. AD BRAD FOLLMER walks up the corridor to meet REYES, who is enquiring with a desk clerk.)

REYES: (To desk clerk) Excuse me?

(FOLLMER walks up to REYES.)

FOLLMER: Monica?

(REYES and FOLLMER slowly walk off down the corridor.)

REYES: Brad? Skinner called you, too?

FOLLMER: He's staying at the crime scene. I'm sorry. I've been put in charge of this investigation. I promise you, it's my top priority. I will find a person who did this. I just need to find out why your partner was in that alley this morning.

REYES: He wasn't. (Smiling, sure of herself.) He was with me, at my apartment. He was with me when Skinner called me.

FOLLMER: (Confused) I'm not sure I'm following.

(REYES starts to look puzzled. She walks off and bumps into SCULLY.)

SCULLY: Monica, I'm so sorry. Agent Doggett is just coming out of surgery and 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 paralysed 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 3
(The door of a hospital room opens. We see a medical monitor working away as SCULLY, REYES and FOLLMER enter. REYES looks over the bed, her silence revealing her shock. We see DOGGETT lying on the bed, his neck in a cervical collar to keep it perfectly still. He is unconscious. REYES places her hand over his. She looks very sad. She opens her mouth to say something but can't. FOLLMER and SCULLY, standing behind her, also share her sadness.)




SCENE 4
FBI BALLISTICS LAB
WASHINGTON, D.C.
FOLLMER: You have found the bullet?

SKINNER: 9mm slug. Found it in the alley lodged in the wall. Most likely from the Sig Sauer P226 or 228.

FOLLMER: Possibly FBI issue.

SKINNER: I don't 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. (FOLLMER beckons SKINNER over toward him.) I'd appreciate case updates in a timely fashion. For instance, this bullet... how long have you have it? An hour? Two?

SKINNER: Thereabouts.

FOLLMER: It just we need to keep the lines of communication open, that's all I'm asking. I want this slug run through our database of FBI-issued pistols.

SKINNER: Like I told you the round didn't come from Doggett's weapon. (FOLLMER looks at him) You're not saying another agent could have done this.

FOLLMER: Just run it, please.




SCENE 5
(Outside DOGGETT's hospital room. We see REYES' face reflected in the glass. SCULLY walks up and stands next to her. They are both in through the windows at DOGGETT.)

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 the last couple of years that I've... fully come to terms with it. In '94 my father passed away... and that night... at the very moment that it happened he came to me. I like to believe that he came to say goodbye.

REYES: (Sincerely) A visitation. I think that's wonderful. A blessing. But that's not what happened to me.

(SCULLY's cell phone rings, interrupting them.)

SCULLY: (on phone) Scully.

(SKINNER is driving, talking through a hands-free phone.)

SKINNER: (on phone) It's me, is Reyes with you?

SCULLY: (on phone) Yeah, she's here, we're both at the hospital.

SKINNER: (on phone) I need you to bring her to Sixth District Police Station. I'm on my way there myself.

SCULLY: (on phone) What's this about?

SKINNER: (on phone) I'll tell you when you get there.

(SCULLY looks over at REYES.)




SCENE 6
METRO POLICE, SIXTH DISTRICT
WASHINGTON, D.C.
(SCULLY and REYES are walking through the station. They meet up with SKINNER.)

REYES: What's going on?

SKINNER: Agent Reyes, wouldn't you mind stepping inside, please?

(REYES looks at SCULLY before entering the room they are standing in front of. FOLLMER is waiting for her inside.)

FOLLMER: Hi, Monica. Have a seat.

(REYES walks around a table and sits in a chair. The room is illuminated by a harsh light hanging over the table.)

FOLLMER: 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 so certain that you were with Agent Doggett when he was shot?

(SCULLY is watching and listening in from an adjoining room with SKINNER.)

SCULLY: What is this?

SKINNER: Just wait.

FOLLMER: Is that a true statement?

REYES: Yes. Uh-ah, I mean, no, I wasn't with Agent Doggett when he was shot, but I was with him at the time AD 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... meaning... reason for what you're trying to cover up.

SCULLY: I'm going to put a stop to this.

REYES: What are you saying to me, Brad? Why are you saying these things?

FOLLMER: The results of the ballistics test. A bullet that hit Doggett came from your gun. (REYES looks shocked. Behind the one-way mirror, SCULLT also looks up in surprise.) And furthermore we have an eyewitness... one who has placed you at the scene.

REYES: Is that why I'm here? In this room? So you can make an ID?

FOLLMER: Agent Reyes ...

(REYES gets up from her chair and paces towards the one-way glass.)

FOLLMER: I'm going to have to ask you for your FBI identification.

REYES: Who's there? Who's back there?

(We see SKINNER and SCULLY behind the glass. We see another police officer, thanking an eyewitness for his help in the identification of REYES.)

POLICE OFFICER: We appreciate your cooperation, sir.

(The camera pans over the eyewitness. We see that it is ERWIN LUKESH.)

LUKESH: Anything I can do to help.

[Fade to black]




SCENE 7
(DOGGETT's hospital room. REYES is holding her hands over his again. She looks exhausted and pale. DOGGETT is still unconscious in his neck collar. SCULLY and SKINNER enter the room. We see a suited man outside in the doorway.)

REYES: Smart touch. Posting a guard making sure I don't finish the job.

REYES: 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 potential holes.

SCULLY: For starters, there's the fact that when I called you, you were at home. Fourteen 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: Uh, it doesn't make any sense. None of it. What about the eyewitness? What can you tell me about him?

SKINNER: You know we can't discuss that.

SKINNER: Look...

(DOGGETT's fingers begin to twitch. His eyes open briefly.)

REYES: My God, John.

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.

(DOGGETT's fingers continue to twitch, but with regularity that SKINNER immediately notices.)

SKINNER: That's not a spasm. That's Morse code.

REYES: What'd he say?

SCULLY: (reading) Lukesh.

REYES: What? What does that mean?

(REYES notices this has changed SCULLY's demeanour. She wants answers.)




SCENE 8
(The apartment building lobby. Locker 4-D is being unlocked. We see LUKESH take out a handful of letters and junkmail.)

CUT TO:

(LUKESH enters an apartment. He puts the mail down on a table in the hallway just inside the door. A woman's voice calls out. She has a particularly whining voice.)

MOTHER: Who's there? Is somebody there? Erwin, is that you?

LUKESH: Who else would it be, Mama?

MOTHER: I thought maybe robbers ... My God, I thought something terrible had happened to you. You were gone so long.

LUKESH: I was gone 2 hours and 6 minutes (checking his watch) and back at noon, just like I told you.

MOTHER: I was so scared. Could you bring me a glass of that clemado with two squirts of Texas Tea and two icecubes. God I was all alone. And I heard the knob rattle. Somebody was rattling the knob. (LUKESH opens a drawer, revealing a handgun. He picks it up, holds it, spins it around his trigger finger, and then places it back in the drawer.) It was the robbers. I just know it was. I don't know how I got through it. I was so scared.

(LUKESH picks up the drink and takes it through to the lounge. The TV is on. We see LUKESH's MOTHER, laying in a bed facing the TV. "Days of our lives" is on.)

MOTHER: That show is on. Could you make me my hot sandwich so that I could eat my sandwich while I watch my show?

(LUKESH goes to the kitchen and opens the refrigerator.)

MOTHER: What kind of sandwich is it?

LUKESH: Potted meat.

MOTHER: I don't think I like that. Have I had it before?

LUKESH: Many times.

(LUKESH holds up a clear plastic bag containing a severed human tongue. It looks quite fresh.)

LUKESH: (Transfixed by the tongue) You love it.




SCENE 9
(REYES tosses a roll into the bin. She looks as though she doesn't want to be there.)

REYES: We should be at the hospital.

(We see SKINNER is with her. They are in her new apartment.)

SKINNER: Scully will call if he regains consciousness.

REYES: Yeah, I should be there...

SKINNER: Agent, you're still under investigation. Not to mention I will be too if anyone finds out that I show you this.

(He holds a brown file out to REYES, looking away as he does so. REYES sits down and reads through the file.)

REYES: Erwin Timothy Lukesh?

SKINNER: Have you even seen him before?

REYES: (Reading from the file) 1995. Patient at the State Psychiatric Hospital at Gaitersburg. Diagnosed with a delusional disorder anger sub-type that presented itself shortly after the suicide death of his 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 that he saw you exit the alley.

REYES: This is the one person we know was in the vicinity at the time of 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: (on phone) Skinner.

(AD FOLLMER is standing in a hospital corridor.)

FOLLMER: (on phone) It's Follmer. You remember the discussion we had yesterday when I asked you to keep me up to date?

SKINNER: (on phone) I do ...

FOLLMER: (on phone) I'm at Washington Memorial. I'm assuming you're with our prime suspect? Bring her. She's going to talk to Agent Doggett.




SCENE 10
(The hospital. The lift doors open and REYES and SKINNER step out. AD FOLLMER is waiting for them, and SCULLY appears from another corridor.)

FOLLMER: Ah, the gang's all here.

REYES: How is he?

(They head off towards DOGGETT's room.)

SCULLY: Fully conscious. We set up a communication device designed for spinal injuries ............

FOLLMER: Just so we're clear, we ask only the questions I want asked. You're not to try and 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.

(They arrive at the room. REYES enters. FOLLMER stops outside with SKINNER and SCULLY.)

FOLLMER: He didn't mention you two.

CUT TO:

(DOGGETT's bedside. There is a monitor at the end of the bed. REYES enters and walks over towards DOGGETT. She gently strokes his face with the back of her hand

REYES: John. Hey there.

(We see one of DOGGETT's fingers is attached to a morse button, which is connected to a laptop. It interprets his finger presses and display the letters on the screen. His fingers twitch and the screen is updated.)

DOGGETT: (On monitor screen) ALIVE>.

REYES: That's right. You're alive. As if there were ever any doubt.

DOGGETT: (On monitor screen) NO YOU HOW OK>.

REYES: Why I'm alive? Is that what you're asking? I'm fine, John. Why wouldn't I be?

FOLLMER: Have him say who shot him.

DOGGETT: (taps) YOU... (REYES looks at DOGGETT, shocked. There's a long pause before DOGGETT continues) YOUR THROAT CUT.

REYES: My throat wasn't cut, John, what do you mean?

DOGGETT: (taps) LUKESH KILLED YOU. TRIED KILL ME.

(REYES and FOLLMER look at DOGGETT. His eyes open slightly.)




SCENE 11
(Night. LUKESH is lying on his mother's bed. He checks to see that she is asleep. LUKESH carefully gets off the bed to try and leave without waking her. As he leaves the room, her eyes open.)

CUT TO:

(Night. LUKESH is in the alleyway where DOGGETT was shot. He is holding a cut-throat razor in his hand. He walks down the alley towards the dead-end. Suddenly, he completely disappears into thin air. The alley is empty.)




SCENE 12
(Day. DOGGETT's room. A DOCTOR is probing DOGGETT's chest for sensation with a long needle.)

DOCTOR: We're going to see if you feel anything. Any sensation at all. (The DOCTOR carefully presses the needle against his skin around his chest.) Okay, that's enough for today. We'll see if you can feel any better tomorrow.

(DOGGETT taps away on his morse button.)

DOGGETT: (On screen) 1ST TIME EVER HOPED FOR A LITTLE PRICK>

(REYES can't help but smile.)

REYES: You kiss your mother with that mouth?

(DOGGETT's eyes are open and he looks up at REYES.)

DOGGETT: (On screen) HOWS CASE?

REYES: It's coming along. (He eyes her) It's nowhere, basically. There's so much that's impossible to reconcile. You say I was on the stakeout with you, I say you were at my apartment bringing me...

(REYES pauses, an idea forming in her mind.)

REYES: John, do you know a little stand on M Street? Supposed to be really good hot dogs?

DOGGETT: (On screen) 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 you at the exact same time. W-what would it take for that to be true?

DOGGETT: (On screen) 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: (On screen) 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. (DOGGETT's mind goes back to the alley just before he was shot.) And then, somehow, he was behind you. And he shot you. 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. And what if somehow you followed him through that door. (We see DOGGETT in the alleyway, disappearing into thin air.) Without even knowing it. Maybe when you followed Lukesh into this world, my - my Doggett got forced out.

DOGGETT: (On screen) WOW>

REYES: My Doggett would have called that crazy, too... but give me another theory that fits.




SCENE 13
(Police Station interview room. SKINNER and FOLLMER are talking to LUKESH.)

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... inconsistencies that we need to clear up.

LUKESH: Sure. Dot the I's, cross the T's

SKINNER: Yeah, here's an odd one, for starters. We have an eyewitness that says you shot Agent John Doggett.

LUKESH: (Surprised) 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: Yeah. Wow. (Laughs) 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 ought 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, Miss Reyes, is responsible for this terrible tragedy.

FOLLMER: Is there someone who can corroborate your story?

LUKESH: (Smiling) No.

SKINNER: How about your mother? I mean, you live with your mother right?

LUKESH: She was sleeping, she wouldn't have heard anything.

SKINNER: Well, still, maybe she can tell us something. Would she be willing to come down here and talk to us?

LUKESH: My mother is in poor health. She gets confused easily.

SKINNER: Oh, we can go to her

LUKESH: I won't have you harassing her just because you're afraid to admit that one of your people did this! (Threatening SKINNER and FOLLMER) If you're going to arrest me, do it. Otherwise, I'm going home.

SKINNER: (As LUKESH leaves) Say hi to mama.

(LUKESH leaves. We see REYES walking through the police station. She bumps into LUKESH. He stops and walks back up to her.)

LUKESH: Agent Reyes, right? What's the matter? Cat got your tongue?

REYES: 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? After your breakdown in 1995? 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: (He leans forwards so that his face is only inches from her. He inhales, smelling her.) God, I enjoyed it. You bled just like a pig. (He walks away.)

(REYES looks shocked. SKINNER exits the interview room behind her.)

SKINNER: Reyes?

(LUKESH turns around once more before leaving to look back towards REYES. FOLLMER joins SKINNER in the hallway.)

FOLLMER: You all right?




SCENE 14
(LUKESH's apartment. He takes a drink from the refrigerator. He holds it to his forehead.)

LUKESH: Mama, I'm home. (No reply) Mama, you want your clemato?

(He walks over to the drawer where he's hiding REYES' gun. He opens the drawer to find it gone.)

LUKESH: Mama. Have you been out of bed? Mama?

(LUKESH looks worried. He walks to the bedroom, to find REYES gun out on a table.)

MOTHER: You don't tell me things, Erwin.

LUKESH: I tell you things.

MOTHER: You sneak out of house in night. You leave me alone all by myself. And then you think that I don't know but I know. I know every time. What is it that you do, Erwin, that you don't tell me?

LUKESH: I don't... I don't do you that. I don't know what you mean.

MOTHER: Why is this gun in my house? I opened the drawer. I don't even know how I even picked it up without it going off and killing me. I was so scared.

(She sobs. She wipes her tears away with a tissue.)

LUKESH: Mama ...

MOTHER: If you won't tell me, you will tell the FBI, that's it. Agents at the FBI have left three messages. (The message lights on the answerphone is blinking.) They want to talk to me? Can you imagine, Erwin, why would the FBI want to talk to me?

MOTHER: What are you doing? Aren't you even going to listen?

LUKESH: You're going to talk to them?

MOTHER: Well, of course I am, it's the FBI!

LUKESH: Mama.

(LUKESH starts sobbing.)

MOTHER: Don't turn on the waterworks, Mister, it's not going to wash. I'm the one who's been lied to.

(We takes out the cut-throat razor he had earlier. He wipes his eyes with his hand.)

MOTHER: Erwin. What are you doing?

(He moves towards her. She looks very scared.)

MOTHER: Erwin. What are you doing? Erwin. No...

(LUKESH stops over her bed and stabs her three times with the razor.)

[Fade to black]




SCENE 15
(DOGGETT's hospital room. REYES is wet shaving him, carefully. She puts it down, finished.)

DOGGETT: (On screen) MISSED A SPOT>

REYES: (Smiling) Did not. Anyway, that's what you get for hiring cheap help.

DOGGETT: (On screen) BEEN THINKING>

REYES: Thinking about what?

DOGGETT: (On screen) SOUNDS CRAZY, BUT THINK YOURE RIGHT. 2 DOGGETTS CANT BE IN 1 WORLD. U CAN FIX>

REYES: How?

DOGGETT: (On screen) PULL THE PLUG.

(He looks up at REYES.)

REYES: Bad joke.

DOGGETT: (On screen) I GO YOUR DOGGETT COMES BACK. CMON YOUR THEORY SOUND>

REYES: My theory is sound? You don't believe a word of it, John, not in a million years would you believe. It has nothing to do with my theory.

DOGGETT: (On screen) DO U BELIEVE?>

(She nods.)

DOGGETT: (On screen) PROVE IT>

REYES: I would do anything for you. Anything but that.

(DOGGETT lies there, looking up at her. Her cell phone rings.)

REYES: (on phone) Reyes.

SKINNER: (on phone) It's Skinner, are you okay?

REYES: (on phone) Yes, sir, I'm fine.

SKINNER: (on phone) I can't say the same for Marion Lukesh.

REYES: (on phone) What happened?

SKINNER: (on phone) She's dead. It's the exact M.O. Doggett described. It looks like a straight razor was used.

REYES: (to DOGGETT) Lukesh killed his mother. (on phone) Do you have any idea where he is?

SKINNER: (on phone) No. But if everything I've heard is true, he's not going to be easy to find.

REYES: (on phone) I think he'll find us.




SCENE 16
67 BENNETT AVE.
WASHINGTON, D.C.
(Night. Outside in the street. A dog is barking. Inside REYES is walking around her apartment slowly, checking to make sure things are as she left them. She draws her gun as she checks a room. Suddenly we hear SCULLY's voice over a radio.)

SCULLY: You all right, Agent Reyes?

REYES: Just a little jumpy, I guess.

SCULLY: It's understandable

FOLLMER: Try and take it easy, Monica. We got you covered, coming and going.

REYES: Anything happening out front?

SKINNER: No, you moved to a quiet neighbourhood. It's dead out there.

REYES: I think I'll check around once more.

(REYES is checking around her dimly lit apartment. She sees an empty bottle and a small box on the floor, which she stops to pick up. FOLLMER and SCULLY are watching her on a surveillance monitor. She passes a doorway and suddenly, she is grabbed around the neck from behind by LUKESH, who holds a razor to her throat. He pulls her back towards him so he is whispering into her ear. He notices her earpiece of pulls out her radio transmitter.)

LUKESH: You want to scream right now, don't you?

REYES: Lukesh. (He holds the razor at her throat.)

LUKESH: Parked in a van outside was the FBI. Try and scream out 'em. They can't hear you.

CUT TO:

(SCULLY is checking the monitors. There is no sign of REYES in the apartment.)

SCULLY: Where's she gone?

FOLLMER: Monica, do you copy?

SKINNER: Reyes, Agent Reyes, do you read me?

SCULLY: He's in there. He's got to be.

FOLLMER: That's not possible.

SCULLY: And what if it is? Want to stick around to find out?

CUT BACK TO:

(LUKESH starts to break down. He is still holding REYES against him.)

LUKESH: You ruined everything, you bitch. You made me! You made me do it.

REYES: Lukesh.

LUKESH: Shut up! Shut up! But you know what? This time, I get to bleed you slow.

(LUKESH looks down at REYES' neck. Suddenly an FBI MARKSMEN burst through the door, and within a second has shot LUKESH in the centre of the forehead. LUKESH falls to the ground, leaving REYES standing. FOLLMER, SCULLY and SKINNER race in to the apartment. FOLLMER goes to comfort her.)

FOLLMER: You all right? Monica, you all right? It's okay. It's okay. It's over.

(REYES looks shaken up. She knows what she has to do to end it.)

[Fade to black]




SCENE 17
(DOGGETT's hospital room. DOGGETT is sleeping as REYES enters. She closes the door quietly behind her and locks it. She walks over to his bed. DOGGETT looks up at her. She takes his hand in hers, and strokes it. She turns off the monitor behind him, and switches off the respirator. The machine becomes silent. Tears well up in her eyes. She lays DOGGETT's hand back down on the bed. REYES closes her eyes.)




SCENE 18
(REYES opens her eyes. She is back in her apartment.)

DOGGETT: Monica, forget about the plates, will you?

(She opens here eyes. She looks up at DOGGETT in shock. DOGGETT looks confused.)

DOGGETT: What's wrong?

(REYES smiles. She walks up to DOGGETT and puts her arms around him. She hugs him tight, her chin resting on his shoulder. She looks happy.)

DOGGETT: Monica, what's wrong?

REYES: I'm good. Good.

(REYES smiles, her tears of happiness streaming down her face.)

[Fade to black]

[THE END]

(Before the credits roll, a special memorial was shown on the screen.)

In Loving Memory Of

RICKY LOYD ARREGUIN

January 24, 1985 - September 13, 2001

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