The characters, plotlines, quotes, etc. included here are owned by Chris Carter and 1013 Productions, all rights reserved. The following transcript is in no way a substitute for the show "The X Files" and is merely meant as a homage. This transcript is not authorized or endorsed by Chris Carter, 1013 Productions, or Fox Entertainment. It was painstakingly typed out by CarriK and made available for your personal enjoyment by me, DrWeesh from my website, The X Files Transcripts Archive




SCENE 1
MARYLAND MARINE BANK
5:55 PM

(SCULLY opens a briefcase on a bank counter. Pretends to fill out a deposit slip. AGENT JACK WILLIS, attractive, late 30ís stands near her. He is restless, looking around.)

SCULLY: (quietly, to WILLIS) Relax, theyíll be here.

WILLIS: Bankís going to close in five minutes.

SCULLY: Sure it wasnít a bogus tip?

WILLIS: No. Itís real. Iíve been on this long enough. I know the difference. Besides, I can feel it. I can feel them. Iím inside their heads.

SCULLY: (warning tease) Just as long as you keep yours.

WILLIS: (smiles) Message received, Agent Scully, loud and clear. (softly into intercom) Position five. Itís Agent Willis. Do you copy?

(There is a gun in SCULLYís briefcase. She closes the case.)

(SAME TIME: Outside the bank in a car, DUPRE and LULA, hard and rough looking, 30ís. LULA is in driverís seat. DUPRE loads gun. LULA watches the bank.)

DUPRE: What, are you nervous?

LULA: Nope. I just donít want our luck to run out.

DUPRE: Baby, you are my luck. No matter what happens, whenever I look up at the stars I know youíre going to be looking up at the same ones.

LULA: The same ones, baby.

(DUPRE kisses LULA passionately. We see a tattoo on his arm.)

DUPRE: You make every day like New Yearís Eve.

(Wearing hockey mask, holding rifle, DUPRE busts into the bank, yelling.)

DUPRE: Get down! Get down on the ground! I want everyone on the ground now! NOW! Get down! You too --- on the floor! On the floor! Iíll execute every one of you!

(People are screaming and panicking. DUPRE shoves a bag to a teller.)

DUPRE: Put the money in the bag now! Move! Shut up and do it!

(WILLIS pulls his gun and aims it at DUPRE. SCULLY, slightly behind WILLIS also holds her gun on DUPRE.)

WILLIS: Dupre! Drop the gun! FBI! Drop the gun, NOW!

(Pause. All quiet. DUPRE lowers his gun. WILLIS relaxes slightly. Then pulls it up again quickly and shoots WILLIS in the chest. Calmly, SCULLY shoots DUPRE 3 times. DUPRE falls, and the hockey mask goes skidding across the floor.)




SCENE 2

(Later. Hospital. WILLIS is in ER getting defibrillated. SCULLY stands close, very concerned.)

DOCTOR: I need more saline in here, stat.

NURSE: Up to 360, now.

INTERN: 11 minutes, 55 seconds. Clear.

SCULLY: Come on, Jack.

INTERN: Heís been flatlined for over twelve minutes.

DOCTOR: Another amp of EPI and weíll go again at 360. Clear.

(No response.)

NURSE: Still no pulse.

DOCTOR: Weíve done all we can. Iím sorry.

INTERN: You want me to pronounce?

SCULLY: No. You canít give up on him.

DOCTOR: Itís been over 13 minutes. Heís dead.

SCULLY: Go up to 400.

DOCTOR: We lost him. Let him go.

SCULLY: Iím a doctor. Go up to 400, or Iíll do it myself.

DOCTOR: Clear.

(As they jolt WILLIS, DUPREís sheet covered body in the other room jerks.)

SCULLY: Give him another amp of EPI intracardial and go up to 400 again. (They stare at her.) Do it.

DOCTOR: Clear.

SCULLY: Again. Come on, Jack.

DOCTOR: Clear.

(Monitor begins beeping and registering vitals.)

DOCTOR: (amazed) We got a rhythm. Donít ask me how, but heís back. BPís 80 over 50 and climbing. 90 over 50 Ö

(SCULLY looks relieved. Camera pans over to the tattoo on DUPREís limp right arm.)




[OPENING CREDITS] [OPENING CREDITS] [OPENING CREDITS] [OPENING CREDITS] [OPENING CREDITS]




SCENE 3
BETHESDA NAVAL HOSPITAL
12:51 AM
TWO DAYS LATER

(Hospital room. WILLIS is lying in bed attached to machines. His eyes suddenly open. We see only his legs as he gets up, goes to another room and dresses in the manís clothes. A nurse comes to check on the patient. WILLIS hides in the bathroom, ready to garrote the nurse with a strip of rubber. After she leaves, he catches sight of himself in the bathroom mirror. He touches his face in wonder. Has flash of WILLIS being shot.)

(WILLIS goes to the morgue and opens a drawer and looks at DUPREís body. The body is stiff. He tries to pull the wedding ring off of DUPREís finger, but it sticks. He opens a drawer and gets out a pair of bone cutters and we hear a snap as he cuts off one of DUPREís fingers.)




SCENE 4

(Hospital, next day. MULDER joins SCULLY in the morgue. Crime scene procedures underway.)

SCULLY: Any word from Willis?

MULDER: Still missing. He hasn't been home or checked in with the office. I heard something on the way down about a mutilation?

SCULLY: Yeah. Three fingers on Dupre's left hand were severed by surgical shears. We lifted prints. They're Willisí.

MULDER: You said he was chasing this guy for almost a year?

SCULLY: Yeah, he lived the case. It was all he thought about, talked about.

MULDER: What are you thinking?

SCULLY: That maybe this is some kind of post-trauma psychosis. Like the way soldiers sometimes mutilate the body of a dead enemy.

MULDER: That still doesn't explain why he would just vanish. Dupre's partner-- who was she? (reads a chart) Lula Phillips.

SCULLY: They met while she was serving a ten year sentence for manslaughter at the Women's Correctional Facility of Maryland.

MULDER: He was a prison guard.

SCULLY: Until the warden found out about their secret. According to Lula's cell mate they carried on quite a torrid romance.

MULDER: It says here she was released on May 2, 1993.

SCULLY: One week before the first robbery at Annapolis Savings and Loan. The 65-year-old female teller was pistol-whipped. Died from a massive subdural hemorrhage all because she didnít put the money in the bag fast enough.

MULDER: Lovely couple.

SCULLY: Well, apparently they took turns --- one pulling a job while the other one drove getaway. Between the two of them, theyíve killed seven people and gotten away with close to $100,000.

MULDER: Thatís a lot of money now that she doesnít have to split it two ways.

SCULLY: Well, weíre putting her face out there --- local newspapers, Americaís Most Wanted. (notices Mulder not paying attention, still reading the file) Am I boring you?

MULDER: They were married.

SCULLY: Yeah. Last May in Atlantic City. So what?

MULDER: I donít think this was a simple necrophiliac mutilation. Willis sliced and diced those fingers to get at the wedding ring.

(MULDER looks down at DUPREís face and compares it to the file picture.)




SCENE 5

(DUPRE and LULAís apartment. WILLIS arrives, breaks the door window, unlocks the door, and enters.)

WILLIS: Anybody here? Lula? (Sound of a plane overhead.) Baby, baby. baby. (He goes to the fireplace and feels around inside, is disappointed.) Damn.

(He looks in wonder as DUPREís tattoo forms on his arm.)




SCENE 6

(X-Files office. MULDER and SCULLY looking at evidence from the morgue.)

SCULLY: It's a left thumbprint.

MULDER: You can see by these two bifurcations here that whoever held that cleaver was using his left hand.

SCULLY: What do you mean, "whoever"? It was Willis.

MULDER: Willis is right-handed. I checked his pistol grip at the armory. But all the bank surveillance tapes show that Dupre is left-handed.

SCULLY: I'm not sure where you're going.

MULDER: How long did Willis flatline before you revived him?

SCULLY: Just over 13 minutes.

MULDER: This is the EKG strip that recorded his cardiac activity at the time. Now, *in your medical opinion,* what does that look like?

SCULLY: It could be anything Ė an instrument malfunction, electrical overload.

MULDER: (leading tone) But what does it *look* like?

SCULLY: (pause) Two heartbeats.

MULDER: Now, you say Dupre and Willis went into cardiac arrest at the exact same time, right?

SCULLY: Right.

MULDER: Which means for minutes, both men were technically dead.

SCULLY: Technically, but we resuscitated Willis.

MULDER: You resuscitated his body.

SCULLY: (warning) Mulder.

MULDER: Two men died in that crash room, Scully. One man came back. The question is Ö which one?




SCENE 7
UNIVERSITY OF MARYLAND
DEPARTMENT OF BIOLOGY

(MULDER and SCULLY are in the office of PROFESSOR VARNES, energetic, 60ish. MULDER watches SCULLY listen to PROFESSOR VARNES.)

PROF. VARNES: What can you tell me about near-death experiences, Agent Scully?

SCULLY: The usual stuff Ė the tunnel, the light, people rising up and viewing their own bodies.

PROF. VARNES: And as a scientist, how do you account for the phenomenon?

SCULLY: Some sort of disassociative, hallucinatory activity.

PROF. VARNES: (chuckles) Did you know that half of all adults who have had a near-death experience can not wear a watch? The increased electrical activity in their bodies renders the watches on their wrists inoperable. Now, I know this sounds kooky, but as any biologist will tell you, when cells die and genetic material begins to unfold, a tremendous charge of energy is released.

MULDER: Dr. Varnes believes this burst of energy is responsible for the transformational nature of the experience.

PROF. VARNES: People do return from the event profoundly changed.

SCULLY: Changed how?

PROF. VARNES: Personality shifts, perceived psychic abilities, increased zest for life.

MULDER: What about the negative consequences?

PROF. VARNES: Well, theyíre rare, but apparently, in the process of dying there is a window of time during which the body is vulnerable.

SCULLY: I donít understand.

PROF. VARNES: Well, there was a pilot in my support group who died in a commuter plane crash along with his three passengers. This was a few years ago. He recalls floating up in a brilliant aura of light and then feeling an overwhelming need to return to his body. He was revived in the ambulance on the way to the hospital --- the only survivor. It was soon after that that the visions started. Visions of making love to his wife but in ways and places that werenít in his memory. Now, it turns out that one of the dead passengers on the plane was having an affair with his wife. The dead passengerís memory, his consciousness had survived through the pilot.

SCULLY: What happened?

PROF. VARNES: Well, the pilot became increasingly disoriented Ė a schizophrenic, his doctor claims Ė until one day he strangled his wife with an extension cord. (smiles and walks away)

MULDER: Thatís a nice story.

SCULLY: (sighs)

(Later, MULDER and SCULLY coming down the stairs.)

SCULLY: I donít discount the near-death experience because it can be explained empirically by stimulation of the temporal lobe.

MULDER: I sense a big "but" coming.

SCULLY: Itís my still best guess Jackís disappearance can be explained in psychological, not supernatural, terms.

MULDER: For instance?

SCULLY: The stress of the case, the trauma of being shotÖ.. Jackís personality.

MULDER: How well do you know him?

SCULLY: (forced casual) We dated Ö for almost a year. He was my instructor at the academy.

(SCULLY keeps walking, MULDER stops and looks at her.)

MULDER: The plot thickens.

SCULLY: (walking back toward MULDER, remembering fondly) We even had the same birthday. We used to celebrate in some dive in Statford that had a slanting pool table. But it was always so hard for Jack to relax. It was impossible for him really. He was always so intense, so relentlessly determined.

MULDER: Do you believe heís predisposed to this type of psychotic episode?

SCULLY: I believe itís a long way from saying Jack had a near-death experience to saying his bodyís been inhabited by Warren Dupre. (walks down the hall, looks back over her shoulder) A long way.




SCENE 8

(TOMMYís low rent, messy apartment. WILLIS breaks in, grabs TOMMYís gun and holds it on TOMMY who is in bed watching TV, no sound.)

TOMMY: What the hell?

WILLIS: Youíre such a creature of habit, Tommy.

TOMMY: Who the hell are you?

WILLIS: Get out of bed.

TOMMY: I ainít got no clothes on.

WILLIS: Get out of bed. I donít want to shoot you lying down.

TOMMY: Who are you, the rent man? ĎCause Iím all paid up. I swear, Iím not kidding you. Come on, you can go ask Cosmo.

WILLIS: (getting a soda out of the refrigerator and drinking it) Shut up. Where is she?

TOMMY: Whereís who?

WILLIS: Your sister.

TOMMY: Lula? I donít know. I was waiting to see her on the news. (points at new story on the silent television) What I tell you? Check it out.

(WILLIS tries to adjust the volume.)

TOMMY: The soundís busted. Looks like theyíll find her before you do, pal.

WILLIS: Is that what you think? Thatís not what I think. (touches screen image of LULA reverently, then turns off the TV) I miss her, Tommy. I miss her so bad. Thatís why I came back.

TOMMY: Do I know you from somewhere?

WILLIS: Everything I see, I see her.

(WILLISís shirt is covered with blood.)

TOMMY: Jesus, man, youíre bleeding.

WILLIS: (looking at blood on his hands) Even ugliness is beautiful because of her. (aims gun at TOMMY)

TOMMY: (scared) Okay, what are you doing?

WILLIS: You set us up, Tommy. You sold us out to the FBI.

TOMMY: (realizing, amazed) Dupre?

(Gunshot.)

(Commercial 1)




SCENE 9
CRIME SCENE
DESMOND ARMS RESIDENT HOTEL

(TOMMYís apartment next day. Crime scene. MULDER looks around while SCULLY talks to AGENT BRUSKIN.)

AGENT BRUSKIN: Neighbors heard a gunshot, but nobody bothered to check it out. The patrol guys responded this morning to an anonymous 911 and found him here, except the rats found him first. The victimís name was Thomas Phillips.

SCULLY: Thatís Lulaís brother.

AGENT BRUSKIN: Well, thereís not a lot of family resemblance left between the rats and the .45 he took in the face. (puts a piece of gum in his mouth) Oh, I hate this nicotine stuff.

SCULLY: Whatís his story?

AGENT BRUSKIN: Heís single. Heís lived here alone for the past seven months. A few priors, small stuff, mostly Ė B and E, narcotics possession. Nothing like his big sister.

MULDER: Was the television turned on when they found him?

AGENT BRUSKIN: No. Why?

MULDER: I donít think Tommy was much a reader since he doesnít seem to have owned any books and from the position of the body, Iíd say maybe he was watching the tube when he was shot.

OFFICER DANIELS: Print kitís right over there. Knock yourself out.

(Noise at front door as WILLIS confronts OFFICER DANIELS at the door. MULDER and SCULLY turn and look.)

WILLIS: Out of my way, Ace.

OFFICER DANIELS: Regulations state to gain access to a crime scene, you got to show me some ID.

MULDER: (to SCULLY) Looks like you were right.

SCULLY: Excuse me. (goes to door) JackÖ

(WILLIS looks at her and has flashback of her firing the shots that killed DUPRE.)

SCULLY: (to OFFICER DANIELS) Is there a problem here?

WILLIS: No, I just donít have any ID. And would you tell this gentleman who I am?

SCULLY: Itís all right, Officer. This is Agent Jack Willis. Heís with the Violent Crimes Section of the Washington Bureau. (quietly leading WILLIS through the door) Come on. Letís talk out here.

OFFICER DANIELS: (letting WILLIS pass) I was just doing my job.

SCULLY: (quietly to WILLIS) For Godís sake, Willis, what happened? Half the Bureauís been looking for you. Where have you been?

WILLIS: I donít know. I just Ö wasnít myself. I just kinda woke up out in the street.

SCULLY: Iím taking you back to the hospital. Youíre in no shape to be ---

WILLIS: No, no, no way! Iím staying right here.

SCULLY: Youíre not ready to be here.

WILLIS: Who says?

SCULLY: Jack. Youíre recovering from a major trauma. Itís a miracle youíre even able to walk around.

WILLIS: Look. This is Tommy Phillipís place, right?

SCULLY: Jack Ö

WILLIS: Let me just ask you something. Was he killed with a .45?

SCULLY: As a matter of fact he was.

WILLIS: He was. Thatís Lulaís weapon of choice. I know these people. Iíve been after them for a long time. Weíre halfway there.

SCULLY: (reluctantly giving in) You did open the book on this one.

WILLIS: Yeah. And Iím gonna be there when itís closed. (slams his fist into his palm)

SCULLY: All right. But as a colleague and as a friend Iím recommending you undergo a full medical evaluation --- physical and psychological.

WILLIS: All right, fair enough.

(They join the others in the bedroom.)

MULDER: Jack, good to see you back among the living.

(MULDER shakes WILLISí hand, but watches him warily.)

WILLIS: Itís good to be back.

AGENT BRUSKIN: (shaking WILLISí hand) Jack.

WILLIS: So what do we got here?

AGENT BRUSKIN: Mulder here found a print on the TV Ė a partial oblique Ė and itís not the victimís.

WILLIS: (looking at MULDER) Good work, Agent Mulder. Iím impressed.

(MULDER watches WILLIS cross to the TV.)




SCENE 10

(FBI indoor shooting range. MULDER, fingers in his ears, comes up behind WILLIS who is shooting the target. WILLIS finishes the clip and pops it out of the gun.)

MULDER: Thatís fancy shooting.

WILLIS: Yeah, well, I got to get recertified before they give me my weapon back.

MULDER: (looking at target) Well, by the looks of it, I wouldnít worry about recertification.

WILLIS: Is there anything else you wanted?

MULDER: Yeah. Itís, uh, Scullyís birthday and I was wondering if youíd sign that for her.

(MULDER places a card on a table and carefully watches WILLIS for a reaction. Hands him a pen. WILLIS is relaxed.)

WILLIS: Sure. Be glad to. Iím always glad to celebrate the good times.

(WILLIS signs the card with his left hand.)

WILLIS: There you go.




SCENE 11

(X-Files office. MULDER tosses the card on SCULLYís desk.)

MULDER: (smugly) Happy Birthday, Scully.

SCULLY: (confused) Youíre two months early.

MULDER: Itís from Willis. I thought you two had the same birthday.

SCULLY: We do.

MULDER: Well, thatís news to him. I asked him to sign it. And he signed it with his left hand. (sits at his desk)

SCULLY: You mean you tested him.

MULDER: Yeah. After I found out that the evidence from the Phillips murder is missing.

SCULLY: What evidence?

MULDER: The print we lifted. Our best lead is gone. Someone stole it before the lab had a chance to take a look at it.

SCULLY: (crossing to MULDER) And you think Willis is responsible?

MULDER: Iím not sure Willis is Willis. (SCULLY sighs and rolls her eyes.) Can you at least accept the possibility that during his near-death experience some kind of psychic transference occurred?

SCULLY: Canít you accept the possibility that this isnít an X-File? Aside from the expected level of post-trauma stress, Jack passed both of his evaluations --- physical and psychological. (defensively) Anyway, just because someone forgets a birthday doesnít mean that heís been possessed. When I was studying for my medical boards, I forgot my birthday too.

MULDER: Did you forget how to sign your name? This is a copy of the automobile requisition form Willis filed the day before he was shot. Compare the signatures.

(The two signatures are not even close.)

SCULLY: Like I said, Mulder, stress, all right? We both know it can significantly affect someoneís cursive standard. Iím afraid this doesnít prove a thing.




SCENE 12

(WILLIS at his desk in VCU. Looks through file on the case. Is disturbed by the pictures of his dead body and of LULA. His phone rings.)

WILLIS: (into phone) Agent Willis here.

(WILLIS listens for a moment, then hangs up quickly and crosses to the door. SCULLY crosses over to him.)

SCULLY: Jack. Where are you going?

WILLIS: We got a break. A landlord in Boyle Heights thinks heís got our girl.

SCULLY: Hotline?

WILLIS: Yeah. Saw her picture in the post office. Hereís the address.

SCULLY: Jack, can I ask you something?

WILLIS: Yeah, sure.

SCULLY: (difficult to ask) The Phillips murder. The print Mulder lifted off the television --- itís missing.

WILLIS: And?

SCULLY: And Ö you were carrying the evidence back.

WILLIS: Are you implying something, Agent Scully? I donít know anything about any missing print. Now, Iím ten minutes from closing the biggest case in my career. Are you coming?




SCENE 13

(Apartment building. WILLIS and SCULLY go up the stairs to apartment 202.)

WILLIS: Whatís that apartment number again?

SCULLY: Number 202.

WILLIS: Oh, yeah. (knocks) Whatís this guyís name?

SCULLY: Multrevich.

WILLIS: Multrevich?

(WILLIS knocks at 202. MULTREVICH, large unkempt man, opens the door.)

WILLIS: Mr. Multrevich? Iím from the FBI. Jack Willis. We spoke on the phone.

MULTREVICH: Oh, yeah.

WILLIS: (holds up picture of LULA) Have you ever seen this lady?

MULTREVICH: Yeah. 207. Two days ago. First and last month, cash.

SCULLY: Whereís 207?

MULTREVICH: Down the hallway, around the corner.

SCULLY: All right, Mr. Multrevich, we want you to go back inside your apartment and stay away from the windows.

(MULTREVICH closes the door. WILLIS and SCULLY walk down the hall.)

SCULLY: Whereís our back up? You said you called them, right?

WILLIS: Yeah, they should have been here ten minutes ago. She may be running down a fire escape, or something.

SCULLY: Iím going to call in again.

(LULA opens the door at the end of the hall holding a basket of laundry.)

WILLIS: (sees LULA, grins widely, happy to see her) Look. Hey, thatís her.

(LULA flings the basket to the floor and runs back down the stairs. SCULLY and WILLIS follow LULA down to the basement.)

WILLIS: (desperate) Where is she? Where did she go?

SCULLY: Iíll check back here.

(Separately and silently they search the dark area for about a minute. LULA attacks SCULLY from behind. SCULLY tackles LULA and gets her face down on a mattress.)

SCULLY: Face down! Face down! Hands behind your back. Now!

(SCULLY gets LULA hand cuffed, then still sitting on LULA turns her head to WILLIS who has come up behind them.)

SCULLY: Sheís all yours, Jack.

WILLIS: (looking at LULA) Yeah, like a dog on a leash.

(LULA looks up at WILLIS sharply. WILLIS tosses his handcuffs onto the mattress beside SCULLY.)

SCULLY: (warily) I already cuffed her.

WILLIS: Theyíre for you, Scully. Put them on.

SCULLY: Whatís going on, Jack?

WILLIS: (aiming his gun at SCULLY) Put them on, or Iíll blow you in half.

SCULLY: Jack Ö

WILLIS: Shut up! Put them on.

(SCULLY, staring at Jack, slowly puts the cuffs on her own wrists. WILLIS goes to LULA and tenderly touches her face.)

WILLIS: Come on, baby. Come on, get up, baby. I want to look at you. Your face is all dirty.

LULA: (trying to push him away) Keep your stinking hands off me.

WILLIS: Baby, you ainít going to believe where I been.

(SCULLY watches them.)




SCENE 14

(LULA and DUPREís apartment. WILLIS is talking to LULA who is packing suitcases. SCULLY is handcuffed to the radiator. Her lip is swollen and bloodied)

WILLIS: Sure itís crazy. You donít think I know itís crazy? This isnít my face, these arenít my hands, but itís me in here. And I know you, I know everything about you, baby. Come on, ask me something. Your birthdayís April 7th. Your favorite color is red. Come on. Come on, ask me something else. Come on, ask me.

LULA: (not convinced) Okay. Okay, what did we do after we got married?

WILLIS: (suggestively) Right after?

LULA: After that.

WILLIS: Well, we went down to the beach. I took out my buck knife and I sliced open my palm and then I slit open your palm Ö (takes her hand) and we let the blood drip down in the water.

LULA: Then what did you say to me?

WILLIS: I said, "This is so we can be married in all the oceans of the world." (kisses her hand) And then I made you a solemn oath Ö (holds up wedding ring) to never take this ring off my finger. (puts it on) Ever. I mean to keep that promise.

LULA: (shakes her head and pulls away) This is Ö this is just too weird. I canít believe itís really you.

WILLIS: Donít worry, baby. It wonít make any difference in the dark.

(WILLIS begins kissing her neck. She looks uncomfortable.)




SCENE 15

(MULDER and AGENT BRUSKIN coming out of MULTREVICHís apartment.)

AGENT BRUSKIN: Thank you sir, weíll be in touch.

MULTREVICH: When do I get my reward?

AGENT BRUSKIN: Weíll call you.

(MULTREVICH goes back inside.)

AGENT BRUSKIN: Now *Iím* worried. 12 hours with no word. I donít get it. Whyís their car still sitting out front? Why didnít Willis call for backup?

MULDER: Because it wasnít Willis who answered the hot line.

AGENT BRUSKIN: What are you talking about? You heard the recording. It was Willisí voice.

MULDER: (tense) Forget it, Bruskin.

AGENT BRUSKIN: Plus which, the manager just IDíd him and Scully.

MULDER: (really tense) I said forget it, Bruskin.

(They get out to the car.)

AGENT BRUSKIN: This isnít one of your X-File theories, is it?

MULDER: It doesnít matter what I think. Weíre still after the same thing. (MULDERís cell phone rings. He answers it.) Mulder.

VOICE: (on phone) FBI Centrex Operator. Please hold.

MULDER: (on phone) Yeah.

WILLIS: (voice, on phone) Guess who, Ace?

MULDER: (on phone) Willis?

WILLIS: (on phone) That depends on who you ask, donít it?

MULDER: (on phone) Whereís Scully?

WILLIS: (on phone) Youíre the FBI. You figure it out.

MULDER: (on phone) Let me talk to her.

WILLIS: (on phone) Yeah. Sure. (puts phone to SCULLYís ear)

SCULLY: (into phone) Mulder?

MULDER: (on phone) Dana, are you okay?

SCULLY: (into phone) Donít --- (WILLIS pulls the phone away)

MULDER: (voice, on phone) Dana?

WILLIS: Okay. Thatís it. Good-bye. (hangs up)

SCULLY: Itís not going to work, Jack.

WILLIS: You donít think so?

SCULLY: Bureau policy prohibits negotiating with kidnappers. But you already know that, donít you, Jack?

WILLIS: Stop calling me that!

SCULLY: Your name is Jack Willis. You were born February 23, 1957. You live at 51 Stanhope ---

WILLIS: My name is Warren James Dupre. And I was born in Klamath Falls, Oregon in the Year of the Rat.

SCULLY: We spent a weekend up at Pine Barrens. You taught me how to fish through the ice. It was your parentsí cabin. Jack, try to remember. We drove up in a snowstorm. Come on, Jack.

(WILLIS, breathing heavily, has flashes of driving in snow. Brushes the image away and turns angrily back to SCULLY.)

WILLIS: Donít think I didnít see what you did. I was like a little slip of paper up there on that hospital ceiling. I saw everything.

SCULLY: What did you see?

WILLIS: You left me to die on that table while you tried to save your friend!

SCULLY: You *are* my friend.

WILLIS: Too bad he was gone already. I watched him go. I just saw him slip away down that long, black tunnel.

SCULLY: No. We brought you back.

WILLIS: You shot me dead! And then you let me die.

SCULLY: No. You wonít kill me, Jack.

WILLIS: (pushes gun into her side) You call me that one more time Iíll make you stone-cold.

(LULA enters the room.)

LULA: Easy, baby, easy. Not yet. Remember, sheís our ticket.

WILLIS: (taking an empty can of soda from LULA tips it up to drink the last drops) Got any more of this soda?

LULA: You just drank the last of it.

SCULLY: (realization) Soda. How much of that have you had?

WILLIS: Whatís it to you?

SCULLY: Jack Willis is diabetic. Which means youíre diabetic. Too much sugar in the system could lead to hyperglycemia.

LULA: Maybe thatís why your stomachís hurting so bad.

SCULLY: Abdominal pain is the first sign of impending diabetic coma. You need insulin.




SCENE 16
FBI HEADQUARTERS
WASHINGTON, DC

(X-Files office. MULDER, alone, listening to WILLISís field notes and looking through the file.)

WILLIS: (voice on tape) I feel myself getting into their heads and I'm scared by what I'm feeling. The intoxicating freedom that comes from disconnecting action and consequence. Theirs is a world where nothing matters but their own needs, their own impossible appetites and while the pleasure they derive from acts of violence is clearly sexual, it also speaks to what Warden Jackson called their operatic devotion to each other. It's a love affair I almost envy.

(MULDERís beeper goes off. He looks at it.)




SCENE 17

(Later, MULDER, using a detailed map, is briefing a room full of agents.)

MULDER: Katensville PD just reported a drugstore was broken into right here on the corner of Old Forge Road and Madison and Iím betting that Scully is somewhere within this five mile radius.

AGENT BRUSKIN: Am I missing something?

MULDER: 200 units of NPH insulin were taken with a box of syringes. Willis is diabetic.

AGENT BRUSKIN: Get me a census report. Letís see how many households weíre talking about.




SCENE 18

(LULA and DUPREís apartment. SCULLY, released from the radiator, empties a bag of insulin bottles and syringes on the table and begins opening a package.)

WILLIS: (desperate, weak voice) Quick,. quick, quick. My legs are starting to go numb.

SCULLY: Hold on.

(LULA draws gun on SCULLY and pushes the insulin to the floor.)

WILLIS: What the hell Ö?

LULA: (to SCULLY) Drop the needle.

SCULLY: Without this medicine, he dies.

LULA: Yes, so you said. Now, put it down Ö unless you want me to put you down with it.

(SCULLY drops the medicine.)

WILLIS: What the hell are you doing, Lula? I need that medicine.

LULA: You still havenít figured it out, have you?

WILLIS: Figured what out?

LULA: It wasnít my brother who set you up.

WILLIS: (realizing) You?

LULA: Yeah, me. How do you think I got away so clean, huh? The minute you stepped into that bank I was out of there. I got the money, and I got rid of you. At least I thought I did.

(LULA steps on the bottle of insulin, shattering it. WILLIS moans in pain.)




SCENE 19

(FBI headquarters. Phone rings.)

PHONE AGENT: (on phone) Tactical. (listens a moment, then to room) This is it.

(MULDER takes the phone.)

MULDER: (on phone) Mulder.

LULA: (on phone, voice) Listen carefully.

MULDER: (on phone) Whereís Willis?

LULA: (on phone, voice) Oh, he's lying around here somewhere.

MULDER: (on phone) Let me talk to Scully.

LULA: (on phone) Not this time.

MULDER: (on phone) We donít deal unless we know Scully is alive.

LULA: (on phone) Sheís alive. Sheís not happy, but sheís alive.

MULDER: (on phone, threatening) You listen to me --- you lay one hand on Scully, and so help me, God ----

LULA: (on phone) If I were you, Iíd stop talking and start passing around the collection hat Ďcause if you ever want to see Scully again itís going to cost you a million dollars. Have it by this time tomorrow. I'll tell you when and where. (hangs up)

PHONE AGENT: (who has been tracing the call) We got it. Itís a 202 number.

AGENT BRUSKIN: Great. Get the address.

MULDER: (looking at paper, then crumpling it) Forget it. Itís Scullyís cellular number. Theyíre using her phone. We canít trace them. (angrily throws the wadded paper across the room.)




SCENE 20
FBI HADQUARTERS
WASHINGTON, DC

(MULDER with TECH in the sound lab listening to LULAís recorded voice.)

LULA: (voice) Sheís not happy, but sheís alive. If I were you, I'd stop talking and start passing around the collection hat.

TECH: That last part, right?

MULDER: Yeah, but can you squelch the voice even more this time?

TECH: Yep. (adjusts dials) Done.

LULA: (voice) If I were you, I'd stop talking and start passing around the collection hat.

TECH: Yep. Yeah. Thereís something there. Definitely something at the high end. Let me throw on an extra Z -14 filter and isolate everything over half a decibel.

LULA: (voice) If I were you, I'd stop talking and start passing around the collection hat.

(There is a motor sound audible under her voice.)

MULDER: There. That engine sound.

TECH: Letís clean it up some more.

LULA: (voice) If I were you, I'd stop talking and start passing around the collection hat.

(Motor sound very audible.)

MULDER: Is that a small plane?

TECH: Taking off, by the sound of it. Give me a couple more minutes. Weíll guesstimate the altitude within a couple hundred feet.

MULDER: (under his breath) Great!

(Later, briefing room.)

AGENT BRUSKIN: (getting off phone) All right, people, settle down and grab a seat. ("here he goes again, letís put up with him" tone) Mulder says heís got something.

AGENT WESTIN: What? An alien virus or new information on the Kennedy assassination?

AGENT BRUSKIN: Hey, Mulderís all right. You should pay attention. You might learn something from the man.

(MULDER enters and goes straight to the map.)

MULDER: Okay, from our last phone contact weíve identified what sounds like light aircraft taking off. Now, Washington County Regional Airport happens to fall within our area, just south of the state line. Since takeoffs are north to south itís a fair bet that our target area lies along this flight path. For those of you who remember ninth-grade math that gives us an area of just over three square miles to cover --- roughly 1000 households. With 100 law enforcement officials at our disposal at about 30 households per man per hour we should be able to canvass the entire area in about three hours. Agent Bruskin will grid the target area and divide it among the teams.

(Agents all begin to get up, talking.)

MULDER: And for those of you ---who donít know already (voice unsteady) this oneís important to me. So, uh, letís do it right. Thanks.

(Quiet for a moment, then AGENT BRUSKIN begins reading off assignments.)

AGENT BRUSKIN: Let me see Steinburg, Calder, and Westin.




SCENE 21

(Apartment, morning. WILLIS still lying in the corner, SCULLY handcuffed again to the radiator, sleeping.)

WILLIS: Scully?

SCULLY: (waking) Hmn? Huh?

WILLIS: Was there snow?

SCULLY: Yes, Jack. There was lots of snow.

WILLIS: I canít Ö

SCULLY: It was December. It was the weekend after Thanksgiving.

WILLIS: I remember ---- a red stove.

SCULLY: (encouraging him) Yeah. Thatís right. There was a wood-burning stove right in the middle of the room.

WILLIS: Cold.

SCULLY: Yeah.

WILLIS: So cold. I remember I had to wrap you in a blanket when the wood ran out.

SCULLY: (fondly) Yeah.

(WILLIS slumps to the side.)

SCULLY: No! Jack, donít close your eyes. Come on, keep talking. Jack, keep talking. Come on.

DUPRE: (flashback to the bank) Get down on the floor! Get over there!

WILLIS: (sudden angry) Iím gonna execute every one of you!

SCULLY: No. No.

(Psychic!SCULLY sees DUPRE for a moment instead of WILLIS.)

DUPRE: Shut up and do it!

(SCULLY looks again, but his head is in shadow.)

(Knock at door in the other room. Holding a gun, LULA answers the door.)

LULA: Just a second. Who is it?

BIBLE SALESMAN: This is Brother T. Could I speak with you for just one moment, please?

LULA: What do you want?

BIBLE SALESMAN: Just a few minutes of your time, maíam. Beautiful day, isnít it? I wonder if I can interest you in the Word of the Lord --- leather bound in black or red your choice.

LULA: (closing door) Go away.

(Outside, BIBLE SALESMAN aka UNDERCOVER COP, speaks into his radio.)

BIBLE COP: This is one-four. Target sighted.

(Utility truck moves into position.)

(Inside, LULA goes into the room with WILLIS and SCULLY.)

LULA: Well, I guess itís time to make that call.

SCULLY: Heís dead. Itís all on you now. Heís dead because of you.

LULA: (kneeling down in front of WILLIS, not sad) Well Ö guess itís over. Whoever you are.

(WILLIS grabs the gun from LULA and points it at her. She falls back in surprise.)

WILLIS: Donít move.

SCULLY: Jack!

WILLIS: Shut up!

LULA: I love you. Donít you know? Youíre why I came back.

(Outside, agents are all moving into position.)

AGENT WESTIN: (on utility truck cherry picker, into radio) This is Westin. They battened down the hatches. Thereís no clear shot from this side. What about you guys?

(MULDER looks up to an agent on the roof who shakes his head.)

MULDER: (into radio) Ditto. Hold your positions. Keep radios at two.

(Agents surround the house. AGENT BRUSKIN joins MULDER.)

MULDER: How do we look?

AGENT BRUSKIN: Backupís in but we still donít know whatís going on in there.

MULDER: We will soon enough.

(Inside the house, LULA is desperately trying to calm WILLIS.)

LULA: I kept a bottle of medicine in the other room. Iíll go get it. What do you say, huh? (crawls over to him and begins stroking his face) Iíll get it for you. Look, look, look. I love you. I love you, baby.

WILLIS: No.

LULA: Listen, listen, listen. We still have her. We can get away with this.

WILLIS: I donít think so, baby. Not this time.

SCULLY: Jack, put the gun down.

WILLIS: (holding LULA tight to him) You remember that --- light that I talked about? Itís beautiful. Thereís nothing to be afraid of.

(He shoots LULA in the stomach as he kisses her.)

SCULLY: No!

(MULDER and other agents burst into the house.)

AGENT BRUSKIN: All right, FBI! FBI!

SCULLY: Jack!

MULDER: FB ----

(AGENT BRUSKIN checks WILLIS, MULDER goes to SCULLY, still cuffed to the radiator.)

MULDER: (concerned) Scully, are you okay?

SCULLY: (not looking at MULDER) Jack!?

(AGENT BRUSKIN shakes his head, and steps away from WILLISí body. MULDER and SCULLY watch the tattoo on WILLISí arm fade away.)




SCENE 22

(SCULLY is cleaning out WILLISí desk. MULDER comes up to her.)

MULDER: Hi. I got this from the morgue along with the rest of his personal effects. I thought you might want it.

(He hands her a watch with an inscription on the back.)

SCULLY: "Happy 35th, Love D." I got it for him three years ago.

MULDER: (indicating box on the desk) Next of kin?

SCULLY: Uh .. no. Jack was an only child. Both his parents died when he was in college. Thereís a kid over in Parklawn. Jackís been his Big Brother so Iím going to go and see him tomorrow. What am I going to tell him?

MULDER: (bitterly) The official story.

SCULLY: Which is?

MULDER: Fugitive Lula Phillips died yesterday in a shoot-out with federal agents which also resulted in the death of Special Agent Jack Willis Ė killed in the line of duty.

SCULLY: (sighs, looks away and sits) What am I supposed to tell myself?

MULDER: (starts to leave) Good night.

SCULLY: (looks at watch) Itís not working. It stopped. At 6:47.

MULDER: (turns back to her) The exact time that Jack went into cardiac arrest at the hospital.

SCULLY: What does that mean?

MULDER: It means Ö It means whatever you want it to mean. (gently) Good night.

(MULDER leaves.)

[THE END]





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