WRITTEN BY
Vince Gilligan
DIRECTED BY
Michelle MacLaren
AIRED ON
January 13, 2002
RUNTIME
44 minutes
STARRING
VIEWS
438
LAST UPDATE
2024-08-13 08:30:06
PAGE VERSION
Version 3
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SUMMARY
Agents Doggett and Reyes become embroiled in the case when they discover the man possesses the ability to heal himself miraculously. As they unravel his identity, they uncover a trail of sinister experimentation by a covert government project aimed at creating superhuman abilities through genetic manipulation. The episode takes the agents on a journey through the man's fragmented memories, leading to a confrontation with those responsible for his condition. It delves into themes of identity, memory, and the ethical implications of scientific advancement, ultimately questioning the boundaries of human potential and the consequences of tampering with nature in the pursuit of power.
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Written by
Pike on 2017-09-15
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TRANSCRIPT
SCENE 1
DAY ONE
(Fade in. DOGGETT is laying on the ground, seemingly unconscious. As he comes to, we see his is laying on his back, wearing a dirty white T-shirt and jeans. He looks down to his feet. A CRACKHEAD is removing his right sneaker. DOGGETT doesn't have the strength to resist him.)
DOGGETT: Hey, damn it! My shoe ...
(The CRACKHEAD runs off as the sneaker comes off, running away through the building they are sitting in. DOGGETT gets to his feet, his balance unsteady. The room spins. He's hears the CRACKHEAD leaving through a door and follows. He opens the door and is hit by bright sunlight, which disorientates him. He sees the CRACKHEAD disappearing round a corner ahead of them. He runs after him. As he gets the roadside, he stops. He looks around. His is completely unsure of where he is. He looks around. We see we are in a Mexican street, with small shops and stalls lining the roadside. He sees the CRACKHEAD up ahead, looking at the sneaker he has stolen. DOGGETT runs after him and catches him, throwing the CRACKHEAD up against a lamp-post in the street. The CRACKHEAD starts shouting at DOGGETT in Spanish.)
CRACKHEAD: (Arguing with DOGGETT in Spanish) Dejame en paz!
DOGGETT: Give me my shoe!
(The CRACKHEAD notices a police car in the street and calls out to the officers sitting inside.)
CRACKHEAD: (in Spanish) Policia! Policia! Me est?n robando. Auxilio! Me est?n asaltando!
(The POLICE OFFICERS get out of their police car and walk over to DOGGETT.)
DOGGETT: Misunderstanding, officers. I'm the victim here! The guy ripped me off. Here, look -
(DOGGETT hols up the shoe to the POLICE OFFICERS, trying to prove that the CRACKHEAD stole it from him.)
DOGGETT: Hey!
(One of the officers takes the sneaker and throws it to the ground behind him. He takes hold of DOGGETT. The other hits the CRACKHEAD in the stomach with his truncheon. The CRACKHEAD doubles up in pain.)
POLICE OFFICER: (in Spanish) Eres Americano? Tienes papeles?
(DOGGETT looks confused.)
POLICE OFFICER: Paper ... paper. Visa ... Passport?
(DOGGETT feels his pockets for some kind of identification, but can't find any. He shakes his head at the POLICE OFFICER.)
POLICE OFFICER: (in Spanish) Cu?l es tu nombre? Nombre? What is your (pause) name?
(DOGGETT tries to give an answer, but after several seconds of thought, cannot remember. DOGGETT shakes his head again. He looks very confused.)
DOGGETT: I - I- er, I don't know.
[OPENING CREDITS] [OPENING CREDITS] [OPENING CREDITS] [OPENING CREDITS] [OPENING CREDITS]
SCENE 2
DAY TWO
(Fade in. We see we are in a prison cell. There are men standing and sitting on the floor, almost filling the holding cell. We notice DOGGETT standing in front of the bars, his one remaining sneaker on his left foot. He now has a dirty white sock on his right foot. He takes off his sneaker and uses it bang on the bars to attract attention.)
DOGGETT: Hey, guard! Come here! Andale! Hey, guard! Somebody come here!
(Failing to attract anybody, DOGGETT sits down and puts his sneaker back on. One of the other prisoners, DOMINGO, starts sniggering at DOGGETT as he laces up his sneaker.)
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: Sangradura.
DOGGETT: Mexico?
DOMINGO: Man, if you can't remember, you must have had one fine good time getting here. What's your name? (DOGGETT is still unsure.) Damn, you don't know that either, huh?
(Laughing, DOMINGO gets up and approaches DOGGETT.)
DOMINGO: (to DOGGETT) Call you "One Shoe." (He turns to the other prisoners) Se?or un zapato, huh?
(Some of the other prisoner laugh at him.)
DOMINGO: 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?
(DOMINGO moves closer to DOGGETT until he is only a few feet away from him.)
DOMINGO: (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, leaving DOGGETT to consider this. DOGGETT turns away from the other prisoners and stares out of the cell, noticeably confused.)
SCENE 3
(Fade in. We are in a flashback scene. DOGGETT and his wife and laying in bed on a bright morning. DOGGETT's son, LUKE, jumps up and down on the bed, his feet straddling DOGGETT.)
LUKE: Daddy, daddy!
(DOGGETT suddenly wakes up from his dream, finding himself in the cell as dawn breaks.)
SCENE 4
DAY EIGHT
(The cell is now almost at bursting point. DOGGETT's attention is drawn to keys unlocking the cell door. Two men enter, the POLICE OFFICER and another man, NESTOR. The POLICE OFFICER calls out to the prisoners.)
POLICIA: Domingo Salmeron.
(DOMINGO gets up and walks over to the door.)
DOMINGO: (in Spanish) Me estoy poniendo Viejo aqu? encerrado.
NESTOR: (in Spanish) Trabaj? lo m?s r?pido que pude, esas cosas toman tiempo.
(The POLICE OFFICER gives DOMINGO his watch.)
DOMINGO: (in Spanish) Caballeros, ha sido un placer.
(As he leaves the cell, DOMINGO looks back at DOGGETT. He single him out to NESTOR.)
DOMINGO: (in Spanish) Cu?nto por ?l? Es caro?
GUARD: (in Spanish) No mucho. Por qu?? Est?s enamorado?
(DOMINGO is now outside the cell, but walks towards DOGGETT, the cell's bars inbetween them.)
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 tries to stop DOMINGO.)
NESTOR: Domingo?
DOMINGO: Nestor ...
(DOMINGO holds up his hand, motioning NESTOR to be quiet.)
DOGGETT: What kind of job?
DOMINGO: What the hell do you care?
(DOGGETT considers the offer.)
SCENE 5
(DOGGETT, DOMINGO AND NESTOR walk out of the COMISARIA DE POLICIA and into the street.)
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.)
DOMINGO: Hey! Right here!
DOGGETT: Thanks. Some other time.
(DOGGETT keeps walking away. DOMINGO and NESTOR follow after DOGGETT.)
DOMINGO: Hey! Hey!
(NESTOR grabs DOGGETT by the shoulder and pulls him around. DOGGETT quickly pulls away and stares back at 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 walks off again, away from them. NESTOR suddenly pulls out a gun and holds it in the middle of DOGGETT's back. DOGGETT stops and turns slowly around to face NESTOR. DOGGETT then slowly raises his arms above his head, but then strikes NESTOR, taking him completely by surprise and forcibly taking his gun from him. DOGGETT quickly points the gun back at NESTOR, who takes steps backwards. He then aims at DOMINGO.)
DOMINGO: This makes one thing we know about you. You're not a man of your word.
(DOGGETT ponders this. He bends down to pick up his sneaker. He then takes the gun and opens the barrel, striking it with his shoe. Bullets fall to the ground. DOGGETT turns and walks away from them, tossing the now unloaded revolver into a nearby oil drum.)
SCENE 6
(Day. In the warehouse. DOGGETT sees the CRACKHEAD sitting down against a wall, smoking and speaking to himself.)
CRACKHEAD: (in Spanish) C?llate! Estoy tratando de concentrarme.
(The CRACKHEAD looks up and sees DOGGETT reaching down for him. DOGGETT pulls the CRACKHEAD to his feet. He is clearly 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! (In Spanish) Que es m?o? Repito ...
(The CRACKHEAD pulls out a small charm from his pocket and holds it out to DOGGETT. It is a small silver skull, about the size of a fingernail. DOGGETT holds it between his forefinger and thumb.)
CRACKHEAD: Ya estuvo, no m?s. Desaparecido.
DOGGETT: Desaparecido? I'm desaparecido? (The CRACKHEAD nods.) What does that mean? No comprendo.
(THE CRACKHEAD draws his fingertips together and gestures to DOGGETT in the way a magician would gesture that something has disappeared.)
SCENE 7
(Night. DOMINGO is sitting at the bar next to NESTOR, drinking from a can of Tecata beer. He pours salt and lemon onto the rim of the can and takes a long drink. DOGGETT approaches them, and NESTOR points him out to DOMINGO. DOGGETT reaches the bar and stands 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 McCallen.
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.
(DOMINGO gestures for DOGGETT to leave them.)
DOGGETT: I don't have any money.
(DOMINGO reaches into his shirt pocket and pulls out some money. He puts some on the bar for DOGGETT.)
DOMINGO: First month's salary. Don't try and leave town.
(DOGGETT takes the money from the bar and starts to leave. He then turns around and holds out the silver skull charm.)
DOGGETT: This mean anything to you?
(NESTOR seems to recognize the charm but stays quiet. DOMINGO examines it.)
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: Que diablos est?s haciendo? Esa es muy mala idea, Domingo. Tu no sabes lo que este hombre quiere) Why are you doing this? It's a bad idea, Domingo. You don't know what this one wants.
(DOMINGO shrugs him off.)
DOMINGO: (in Spanish: S?lo quiere acordarse, igual que todos los dem?s.) He just wants to remember. Same as all the rest.
(NESTOR looks back towards DOGGETT, clearly perturbed by the charm.)
SCENE 8
(Later. In his new bedroom, DOGGETT turns on the light and looks at himself in a small dirty mirror hanging from the wall. He checks himself over. As he looks at his head, he notices two bloodstained marks on either side of his forehead, just above his temples on his hairline. He takes of his dirty T-shirt and examines his neck and chest. He notices something on his left shoulder, a tattoo. He looks at it in the mirror. It reads "24th MAU, Lebanon '83. We Shall Not Forget".)
DOGGETT: I'm a Marine. Semper fi.
SCENE 9
(Outside in the street below DOGGETT's window, an older man, CABALLERO, is watching DOGGETT's silhouette through the window. He is wearing a silver bracelet on his arm, with small silver skulls hanging from it. There is a gap on the bracelet where we can tell one of the skulls is missing. The man lights a cigar and exhales.)
[Fade to black]
SCENE 10
DAY TWELVE
(Day. KERSH's office at the FBI Building, Washington DC. SCULLY and SKINNER are sitting at KERSH's desk.)
KERSH: AD Skinner, Agent Scully. What's this I'm hearing about Mexico?
(SCULLY hands KERSH a photograph of DOGGETT.)
SCULLY: Well, this came in last night from US Customs. It's a blow-up from a security camera at the border crossing in Laredo, Texas. It was taken at 12:50 AM 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.
(SKINNER looks very annoyed by KERSH's decision.)
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
(In a glass-walled room, REYES is interviewing MR. MOLINA. His lawyer is sitting 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?
MOLINA: Selling tractors. I own the biggest farm equipment dealership in South Texas. AGCO, John Deere, New Holland, CAT ...
REYES: Impressive. (in Spanish: Y acerca de las drogas? Est?n en su inventario tambi?n? Usted ya sabe... cocaina, AGCO, John Deere?) What about drugs? Are they on your inventory, too? You know... cocaine, AGCO, John Deere?
MOLINA'S LAWYER: I'm sorry, I don't speak Spanish.
MOLINA: She says I sell drugs.
(MOLINA's lawyer instantly objects.)
MOLINA'S LAWYER: Please don't speak Spanish anymore.
(REYES opens a file in front of her and takes out a photograph, putting it on the desk in front of MOLINA.)
REYES: You know Hollis Rice, don't you? Vice President of Pan American Mercantile?
(MOLINA picks up the picture and studies it.)
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 he came to you with questions.
MOLINA: When would this have happened?
REYES: Two weeks ago.
MOLINA: Sorry. I don't remember any person named Doggett.
MOLINA'S LAWYER: Agent, I don't quite know what you're implying. Mr. Molina's an upstanding businessman and a pillar of the c...
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.
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?
MOLINA'S LAWYER: Unless my client is under arrest, this meeting is over. No? Come on, Mariano.
(MOLINA'S LAWYER stands up and leaves. MOLINA stands. REYES stands and stops MOLINA before he leaves.)
REYES: (Whispering in Spanish: Piense bien en su futuro, Sr. Pilar de la Comunidad) Think hard about your future, Mr. Pillar of the Community.
(MOLINA leaves.)
SCENE 12
(Another flashback. Early morning. LUKE is jumping up and down on his dad's bed. DOGGETT is lying half-awake next to his wife. LUKE seems really excited.)
LUKE: Daddy.
DOGGETT: Hmmm?
LUKE: Get up, I want to show you something. Come on.
(LUKE jumps off the bed onto the floor. DOGGETT checks the time on an alarm clock. It's red display reads 5:28 AM.
LUKE: Let's go, Daddy! Come on! Please!
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.)
SCENE 13
(As we fade in, we see DOGGETT in excruciating pain. A phone is ringing, the shrill noise causing him to wince. He notices that the phone is ringing. People are sitting around him, staring. The phone continues to ring. We see we are in the Police Station. There is a woman sitting at a counter. An officer is leaning against it, talking to her. The woman calls over to DOGGETT.)
OPERATOR: Se?or? Se?or? Cabina tres.
(The woman indicates the ringing phone. DOGGETT rises to get the phone.)
(We hear a phone ring.)
STAFF SERGEANT MCCORMICK: Marine Corps Public Affairs Office. Staff Sergeant MCCORMICK speaking.
DOGGETT: Yeah, uh ... this is Detective, uh...
(Still unsure of his own identity, DOGGETT checks the phone booth for names. His eyes come upon a sticker on the phone, advertising Ladatel "De Venta Aqui".)
..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-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?
(DOGGETT reads this from his own tattoo.)
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 um, I don't know, he's six feet, 190 pounds, er, 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.
(DOGGETT's attention is drawn to the counter, where two POLICEMEN have entered the station and are talking to the woman.)
STAFF SERGEANT MCCORMICK: Detective, do you have a number where I can reach you? Detective?
(When the camera pans back to the phone DOGGETT was using, we see that he's hung up. DOGGETT is not there.)
SCENE 14
(Day. Outside a garage in the open countryside. A radio is on. A motor engine is revving. We find DOGGETT leaning over the open bonnet of an old bus, working on the engine. NESTOR is sitting in a chair, reading the paper and keeping a close eye on DOGGETT. DOMINGO walks into the garage.)
DOMINGO: Hey. (To DOGGETT) Sounding good.
DOGGETT: Sounding better than it was. It won't sound good until it gets new seals.
(DOMINGO walks over to NESTOR. He speaks in Spanish and kicks the box that NESTOR's feet are resting on.)
DOMINGO: (in Spanish) Ah, tu ves? M?s de lo que tu hayas hecho, sentado ah?.
(DOMINGO turns back to DOGGETT who continues to work on the engine. NESTOR looks angry.)
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 to DOMINGO, who gives him a sheet of paper. It's a "Wanted" poster "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? (Placing his hand on DOGGETT's shoulder.) We'll keep you safe.
(DOMINGO leave the garage, tapping the bus as he leaves. NESTOR stares at DOGGETT with utter contempt.)
SCENE 15
(Night. NESTOR walks over towards the Mexican bar "Cantina Cabrera". Inside, NESTOR approaches the old man from earlier, CABALLERO, who is sitting alone at a table in the middle of the bar.)
NESTOR: (in Spanish: Puedo hablar con usted?) May I speak with you?
(The old man nods his head. NESTOR sits down at the table opposite him.)
NESTOR: (in Spanish: Usted ya conoce a Domingo, mi capataz? Es un amigo al Cartel, como lo soy yo. Domingo tom? sobre ?l a uno de los desaparecidos. Al americano. Pero ?ste americano, quien sea, es diferente. Pienso que le dijo algo que usted ya sabe.) 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, he's different. (CABALLERO finally looks up at NESTOR.) I sense I'm telling you something you already know.
CABALLERO: (in Spanish: ?l es un agente del FBI.) He's an FBI agent.
NESTOR: Why is he still alive? (In Spanish: Por qu? todav?a est? vivo?)
CABALLERO: 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. (In Spanish: Como todos aqu? yo s?lo tomo ?rdenes del Cartel. Mis ?rdenes no mencionan matar. Claro que si ?l muriera ?sta noche, no me importar?a.)
(NESTOR listens carefully to these words.)
SCENE 16
FBI FIELD OFFICE
SAN ANTONIO, TEXAS
(SCULLY enters the office holding an overnight bag. She talks to a male agent who points across the room and hands her a piece of paper. She looks at it and heads over 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 document 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 leaves, as REYES considers this piece of information.)
SCENE 17
(Night. DOMINGO's garage. DOGGETT is working under the bus. He pauses to look at the silver charm. Approaching footsteps interrupt him.)
DOGGETT: Domingo, is that you? (The footsteps stop. NESTOR stops beside the bus.) Siempre trabajo.
NESTOR: I speak English, by the way.
DOGGETT: Yeah?
NESTOR: Yeah. See you in hell, FBI.
(NESTOR pulls out a gun from is jeans and aims it straight at DOGGETT. DOGGETT looks around and reaches for the air release on the pneumatic jack the bus is raised on. One of the bus' wheels crashes straight down on NESTOR's right foot, crushing it. NESTOR screams out in pain. He manages to pull his foot out from under the wheel. His foot and toes are heavily bloodstained and continue to drip blood. He picks himself up and looks for DOGGETT under the bus. DOGGETT is nowhere to be seen. NESTOR looks scared and holds his gun out in front of him. Suddenly, DOGGETT jumps down on him from above him. The gun fires. We see the flash through the dirty windows of the garage.)
[Fade to black]
SCENE 18
(A white pickup drives down the dusty road and stops outside his garage. DOMINGO gets out and walks over to the garage door. He opens it and steps inside. DOMINGO hears nothing, and calls out.)
DOMINGO: Nestor?
(He sees NESTOR's body laying beside the bus. He rushes over.)
DOMINGO: Nestor!
(DOMINGO hears something moving behind him and turns.)
DOMINGO: You?
(DOGGETT is standing there, still holding the gun.)
DOGGETT: Did you send him after me?
DOMINGO: What? What's that mean? DOGGETT raises the gun and aims straight at DOMINGO.)
DOGGETT: Did you send him to kill me? Tell me who I am.
(DOMINGO turns away from DOGGETT.)
DOMINGO: I don't know who you are.
(DOGGETT screams back at DOMINGO, his desperation fully evident.)
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.
(DOGETT cocks the gun.)
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.
(DOMINGO raises his hand and points to his temple.)
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.)
SCENE 19
(We quickly go through the flashback memories DOGGETT's already had. DOGGETT laying in bed with his wife. LUKE jumping on the bed, trying to get his attention. 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. The memories start to come back faster and faster.)
LUKE: Daddy? Daddy? Get up, I wanna show you something. Come on! Come on! Come on!
(Pain from these memories has caused DOGGETT to double over. He falls to his knees, the gun still in his hand. DOMINGO stands in front of him, watching. He leans down and takes the loaded gun from DOGGETT's hand. DOGGETT is still reeling in pain as DOMINGO hits him on the side of the head, knocking him to the ground.)
SCENE 20
(Night. A street. A group of POLICE OFFICERS are sitting at a shoe shine stand. A photograph of DOGGETT is placed on the table.
POLICE OFFICER: (in Spanish: Qui?n pregunta?) Who's asking?
(REYES slips some money on top of the picture.)
REYES: (in Spanish: Un grupo interesado.) Just a concerned party.
(The POLICE OFFICER looks down at the money.)
POLICE OFFICER: (in Spanish: Puedo ver una forma de identificaci?n?) May I see some identification?
(REYES hands him a Mexican ID. We see the POLICE OFFICER is sitting, having his shoes shined. He takes the ID and checks it.)
POLICE OFFICER: (in Spanish: Eres mexicana?) You're Mexican?
REYES: (in Spanish: Nacida y criada.) Born and raised.
(She slips another bill on top of the first.)
REYES: (in Spanish: Por favor, ay?deme hermano. ?l me abandon? a m? y a mis hijos.) 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.)
POLICE OFFICER: (in Spanish: Pens?ndolo bien , el turno anterior encontr? a un americano. Es triste decir pero report? que estaba bien golpeado) Come to think of it, our previous shift came upon an American. They reported he'd been beaten very badly, sorry to say.
(REYES looks concerned.)
REYES: (in Spanish: D?nde est? ahorita?) Where is he now?
SCENE 21
(Night. The local morgue. The POLICE OFFICER pulls back a curtain as REYES enters. We see a body on a table, covered with a sheet. REYES enters the room, looking down at the body. Although the sheet is covering the person's head and body, we can see the victim's hairline, which looks very much like DOGGETT. REYES prepares for the worst as she slowly lifts the sheet. It is not DOGGETT.)
POLICE OFFICER: (In Spanish: Disculpe, no es el de la fotograf?a. S?lo un gringo vagabundo que lleg? al pueblo) I apologize. It's not the one in your photo. Just some homeless gringo. I guess.
(REYES notices red, bloodstained markings at the side of the victim's hairline. They are just like the ones that DOGGETT noticed earlier.)
REYES: (in Spanish: Qu? son esos?) What are those?
(The POLICE OFFICER shakes his head in silence.)
SCENE 22
DAY THIRTEEN
(Inside the bar, a waiter brings a cup of coffee over to CABALLERO, who is sitting alone at his table reading the newspaper. DOMINGO cautiously enters the bar and approaches him. They are the only people in the bar. DOMINGO doesn't sit down.)
DOMINGO: (in Spanish: Se?or, mi amigo Nestor est? muerto.) Sir, my friend Nestor is dead.
(CABALLERO motions for DOMINGO to sit.)
DOMINGO: (in Spanish: Vengo a usted porque me doy cuenta que Nestor no hubiera tratado de matar al americano sin su permiso.) I come to you because I realize Nestor would not have tried to kill the American without your permission.
CABALLERO: (in Spanish: D?nde est? el americano ahorita?) Where is the American now?
DOMINGO: (in Spanish: Lo dej? tirado en mi garaje. Me apunt? una pistola pero se la quit?.) I left him lying in my garage. He held a gun on me, but I took it from him.
CABALLERO: (in Spanish: ?Le mataste?) You killed him?
DOMINGO: (in Spanish: No, se lo dej?.) I left him there for you.
CABALLERO: (in Spanish: Hablaste al americano mientras te estaba apuntando con la pistola, verdad? Qu? le dijiste?) You talked with the American while he held a gun on you? (DOMINGO quickly nods.) What did you tell him?
(DOMINGO looks nervous, realising what is being implied.)
DOMINGO: (in Spanish: Nada.) Nothing.
(CABALLERO leans forwards, closer to DOMINGO.)
CABALLERO: (in Spanish: Se me hace dificil de creerte. Voy a tener que buscar la verdad con mis propios ojos) I find that hard to believe. I'm afraid I'll have to see with my own eyes.
(DOMINGO looks very scared now. CABALLERO's eyes begin to glow white and he raises his hands toward DOMINGO's temples. He presses the ends of his thumbs into DOMINGO's forehead, he hear his fingernails piercing the skin and blood starts to seep out of the wounds. CABALLERO's eyes glow as DOMINGO moans in pain.)
SCENE 23
(DOGGETT is still laying on the garage floor in pain. He gets up, seeing NESTOR dead on the floor. He hears a car approaching outside and goes to the window to investigate. DOGGETT searches for a weapon, and picks up a crowbar from the tool bench. He waits to one side of the door. The door then slowly opens, and REYES enters, keeping low with her gun drawn. DOGGETT takes a swing at her, but REYES drops and DOGGETT hits the door above her. She quickly turns and holds the gun on DOGGETT who raises his hands in surrender.)
REYES: John, I've been looking for you everywhere.
(Suddenly, DOGGETT disarms REYES and slams her up against the bus. REYES doesn't put up a fight. DOGGETT holds the gun on REYES. She doesn't move.)
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 gotta leave. I'll explain it in the car but we're not safe here.
(DOGGETT hesitates momentarily, then lowers the gun and releases REYES. Outside, they hear more cars approaching the garage. DOGGETT and REYES go to the window to see three Police cars stop in front of the garage, blocking their only means of exit. The POLICE OFFICERS get out, armed with shotguns and revolvers, and take aim.)
[Fade to black]
SCENE 24
(Outside. One of the POLICE OFFIERS is using a bullhorn to issue instructions to REYES and DOGGETT. REYES hovers near the window, translating what the officer is saying. DOGGETT is trying to secure the garage door with a heavy duty chain.)
POLICIA: (in Spanish) A todos los ocupantes del edificio. Salgan en estos momentos, inmediatamente! Salgan con las manos en alto!
REYES: 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. They're going to kill us.
REYES: They're going to try.
(In silent agreement, DOGGETT and REYES to fight on.)
DOGGETT: Take cover. It won't be long before they get tired of waiting.
(REYES and DOGGETT retreat further into the garage, and take refuge behind the bus. REYES crouches down, DOGGETT stands, armed with her gun.)
DOGGETT: So, we're partners, huh? How long we been working together?
REYES: Not long. But we've known each other for years.
(One of the POLICE OFFICERS outside shouts something on the bullhorn.)
POLICE OFFICER: (In Spanish) Tiene un minuto para salir, ahorita.
REYES (interpreting): They're giving us one minute.
(DOGGETT crouches next to REYES.)
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 suddenly looks very troubled. She turns to face DOGGETT, but is unable to say anything. DOGGETT remembers and understands what she's not saying verbally.)
DOGGETT: Oh God. Oh God, no.
(DOGGETT now remembers what happened to LUKE.)
DOGGETT: He's dead. He was murdered. Is that right? Is that right?
(REYES remains silent. She nods her head.)
DOGGETT: He was kidnapped. He was just a little boy. He was ... oh!
(DOGGETT breaks down, unable to continue. REYES is welling up now.)
REYES: The FBI got involved. I was assigned to the case. That's when you and I met.
DOGGETT: Oh God!
(Suddenly, the window breaks as a smoke grenade rolls is fired into the garage. REYES turns and quickly notices this. Thick white smoke begins to fill the garage. DOGGETT is still breaking down beside the bus. REYES leaps into action.)
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 instinctively puts a rag over the smoke grenade and throws it back out the window, still smoking. As she throws it out of the window, the Police start firing at her. REYES shelters behind the garage wall as the police continue their assault. REYES quickly gets off a couple of shots then goes over to DOGGETT.)
REYES: John! JOHN! (She grabs hold of him, trying to shake him out of his depression.) 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 slowly raises his head and looks back at REYES. Outside the police continue their barrage as several dozen shots are fired toward the garage. DOGGETT moves his move.)
DOGGETT: Get in the bus.
(Outside, as the Police fire at the garage, the bus suddenly crashes out of the garage doors, smashing them to pieces. The bus is being driven in reverse, and as it picks up speed, DOGGETT steers it into the path of the police cars which are blocking their exit. The police officers struggle to get out of the way as it smashes through the blockade. Inside the bus, DOGGETT and REYES are clinging on to their seats. As the bus passes the blockade, the police start shooting at the bus, the front of which is now facing them. DOGGETT and REYES duck from the bullets being fired at the windscreen.)
DOGGETT: Hang on!
(The speeding bus continues in reverse, its left wheels riding up a small ridge. As the bus speeds backwards, it begins to lean over on its right side, until gravity takes over and causes the bus to fall on its right side. Inside, DOGGETT and REYES gets to their feet and wait, peering out of the bus's windows helplessly. The police officers begin to approach the overturned bus, their guns drawn.)
(Suddenly, from nowhere, a trio of Mexican Federal Jeep-type vehicles appear and stop in front of the approaching police officers. Armed Federal Police quickly overpower the police and wrestle them to the ground. AD Skinner gets out of one of the vehicles and looks around for DOGGETT and REYES. He notices the overturned bus, and approaches it with his Sig Sauer aimed in front of him. As he gets near to the bus, he can see DOGGETT and REYES through the dusty glass windscreen. He looks down at DOGGETT, who is now beginning to remember.)
SCENE 25
(Day. The Mexican bar. DOGGETT tosses the silver skull down onto a table. CABALLERO picks it up and examines it. DOGGETT is standing in front of him. Just inside the bar stand SKINNER, REYES and a Federal Officer.)
DOGGETT: You work for the cartel. You make their enemies disappear. Desaparecido. You understand me?
CABALLERO: I speak English, but I don't understand you.
DOGGETT: Like hell you don't.
(DOGGETT indicates the markings on his head.)
DOGGETT: 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.
CABALLERO: 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 takes a long look at CABALLERO, and turns to leave. As CABALLERO begins to speak, DOGGETT pauses and turns back.)
CABALLERO: 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: (Defiant/proud)Because it's mine.
SCENE 26
(Flashback scene. Day. LUKE leads his father outside. He picks up his red bicycle from the kerb and jumps on. He starts pedalling along the street and then turns back, looking back at his father.)
LUKE: Look, daddy! I can do it.
(DOGGETT looks on proudly, at his son's latest achievement.)
SCENE 27
(DOGGETT is leaning against one of the Federal Police vehicles in the street. He looks very tired and in need of a good, long shower. REYES walks over.)
REYES: John. I'm so sorry (pause) about Luke. About you having to relive that.
DOGGETT: I'll take the bad as long as I remember the good.
(REYES stands with him as he stares off into the distance, happy to be alive and to have his memories.)
[Fade to black]
[THE END]
No history.
