3X15 Der Feind, Teil 1 (englisches Transkript)
|Die Charaktere, Handlungen, Zitate usw., die im folgenden Transkript Erwähnung finden sind © Chris Carter/1013/Fox Entertainment und (in der deutschen Fassung) Cinephon Synchron/ProSieben. Diese Abschrift ist ohne explizite Erlaubnis von den Rechtehaltern von Fans für Fans als Hommage an Akte X erstellt worden und dürfen nur nicht-kommerziell verwendet werden. Und dienen zur Zugänglichmachung zu Gunsten behinderter Menschen sowie zur Verwendung als Zitat. Wir verfolgen keinerlei finanzielle Absichten. Die Texte selbst sind Eigentum des jeweiligen Autors.|
|Transcribed by "FMUlder"
Edited by Libby, Used with kind permission from Libby (www.chelonium.plus.com)
Latitude 42° North
Longitude 171° East
A vessel is stationary, while a diver is being helped into a large diving suit. All the helpers are speaking in French. [ DVD subtitles in brackets]
HELPER: [Ready for the dome. Let's go, let's go. Are the oxygen tanks ready?]
He speaks to the driver.
HELPER: [How is the oxygen pressure?]
DIVER: Check set.
HELPER: [Is the oxygen at 20.8?]
DIVER: [20.8. Check set.]
HELPER: [Are you ready for the dome?]
The helper places the domed face plate onto the diving suit, and a crane comes in to lift the diver overboard. Two scuba men dive overboard. The diver is lowered into the ocean and he switches on the flashlights on his helmet. The cable is detached and he's descending. On the vessel, other men are watching monitors and listening to the diver's reports..
TECHNICIAN #1: [Water temp is 2 degrees. Surge is negligible.]
TECHNICIAN #2: [Two hundred and seventy meters.]
DIVER: [I should be close to the bottom.]
There's some crackling on the radio.
TECHNICIAN #1: [We're picking up some radiation. A strong reading, Gauthier.]
DIVER: [Maybe this thing's right down below me.]
TECHNICIAN #2: [After three months, to find the needle in the haystack now...]
The diver is close to his target which looks like the front part of an aircraft. He has switched on more lights on his suit and is using a handheld flashlight to illuminate the object.
DIVER: [Are you seeing this up there?]
TECHNICIAN #1: [We see something. What is it, Gauthier?]
The diver has moved closer to the object, and his light illuminates letters and numbers on the side: JTT0 111470.
DIVER: [I think it's one of the squadron.]
The men on board the vessel are happy and excited. On a further part of the object is painted in red: Drop Dead Red. Then there's a sound of banging.
DIVER: [Do you hear that?]
The men on vessel stop smiling and pay attention.
TECHNICIAN #1: [We hear it. What is it?]
DIVER: [I don't know.]
The monitors on the vessel suddenly show just static.
TECHNICIAN #1: [We're losing him! Try a different frequency!]
TECHNICIAN #2: [Gauthier? Gauthier! Gauthier!]
The second technician tries various switches on the equipment.
TECHNICIAN #2: [We've lost contact. Gauthier!]
At the bottom of the ocean, the diver continues to illuminate the plane, while the banging continues. Suddenly, the man is seen in the plane through the cockpit window, almost submerged in water. He bangs on the window. As the diver looks on in horror, the eyes of the man in the plane show an oily film.
A little later, men are standing at the stern of the vessel when the diver comes to the surface.
MAN: [There he is! All hands activate the winch.]
They winch the diver back on board.
MAN: [Quickly - open the mask and get him out!]
The second technician uses the screwdriver to begin undoing the face plate, while the first technician runs his hand over the outside of the suit, puzzled by what he's found. The face plate is opened.
TECHNICIAN #2: [Gauthier. Are you all right?]
DIVER: [Yes. I think so.]
TECHNICIAN #1: [What happened down there?]
DIVER: [I don't know. I became disoriented.]
TECHNICIAN #1: [We lost all contact.]
TECHNICIAN #2: [Are you sure you're okay?]
DIVER: [Yes. Yes. Just help me out of the suit.]
They quickly start work on helping him out. The diver waits patiently, an oily film over his eyes.
Scully walks out of an elevator, reading a folder. A door in the hallway opens behind her, it's Skinner.
SKINNER: Agent Scully? Can I see you for a few minutes?
They enter his secretary's office. Skinner speaks to his secretary.
SKINNER: Kimberly, would you excuse us please?
KIMBERLY: Certainly sir.
Kimberly stands up and walks out the office. Skinner and Scully are both standing.
SKINNER: A memo came across my desk last night. I debated whether or not to call you at home but I decided to..
SCULLY: And it concerns me?
SKINNER: Yes, and your sister. It's been five months and there have been no new leads or evidence on her murder investigation by the DC police team or the Bureau. I've been told the case is to be made inactive until further notice.
Scully is taken aback.
SCULLY: I see.
SKINNER: I don't think there's anything to be read into this. I think it's a case of manpower and workload. I want you to know that I am going to appeal this decision and I am going to go back over all the evidence again myself and make sure that nothing has been overlooked.
Scully walks towards the door, and turns back.
SCULLY: You know, it's strange. Men can blow up buildings, and they can be nowhere near the crime scene but we can piece together the evidence and convict them beyond a doubt. Our labs here can recreate out of the most microscopic detail the motivation and circumstance to almost any murder, right down to a killer's attitude towards his mother and that he was a bed-wetter. But in a case of a woman, my sister, who was gunned down in cold blood in a well-lit apartment building by a shooter who left the weapon at the crime scene, we can't even put together enough to keep anybody interested.
SKINNER: I don't think this has anything to do with interest.
SCULLY: If I may say so sir, it has everything to do with interest. Just not yours, and not mine.
Scully turns back, opens the door and walks out the office.
X-Files office. Mulder is sat at his desk, his feet on the desk, idling tapping a pencil against his head. There's a knock on the door.
SCULLY: Sorry I'm late.
MULDER: Anything up?
SCULLY: No. It's nothing. What did you want to talk to me about?
MULDER: Something interesting came to my attention last night. A French salvage ship, the Piper Maru, limped into port in San Diego yesterday, all the way from the north Pacific.
SCULLY: Why is that of interest?
MULDER: Using the national weather service satellite system, I was able to track its course. This was its original position.
SCULLY: Longitude uh.. 171 east, latitude 42 north.
MULDER: Yeah, that's where the boat we know as The Talapus pulled up what you believe was a Russian sub, and what I believe was the remains of a UFO.
She puts her hand to her face.
MULDER: Look Scully, I don't know what it is but something is still down there and now the French are looking for it too.
SCULLY: So what?
MULDER: So why all the attention paid to this site? What information are they acting on?
SCULLY: Why don't you just ask them?
MULDER: I would but the entire crew is being treated for radiation burns.
SCULLY: From exposure to what?
MULDER: The French government is keeping that information classified for some reason.
SCULLY: Could it have anything to do with their resumption in nuclear tests?
MULDER: I checked. It's thousands of miles away from any test sites.
Scully smiles and laughs.
SCULLY: I'm just constantly amazed by you. You're working down here in the basement, sifting through files and transmissions that any other agent would just throw away in the garbage.
MULDER: Well that's why I'm in the basement, Scully.
SCULLY: You're in the basement because they're afraid of you, of your relentlessness and because they know that they could drop you in the middle of the desert, and tell you the truth is out there, and you would ask them for a shovel!
MULDER: Is that what you think of me?
SCULLY: Well, maybe not a shovel. Maybe a backhoe.
MULDER: Well that's good because there's some garbage in San Diego I want you to help me dig through.
Scully takes the flight ticket Mulder hands her
San Diego Naval Hospital
In a room full of patients with burns, a doctor standing is writing a report. Mulder and Scully enter.
MULDER: Dr Seizer?
DR. SEIZER: Yes?
MULDER: Special Agent Mulder. This is Agent Scully.
DR. SEIZER: You're here about these French sailors with the radiation exposure?
MULDER: Yeah, how are they doing?
DR. SEIZER: Not real good.
Scully looks over the patients.
DR. SEIZER: It's been difficult to determine a proper course of treatment, because there's an air of secrecy around what happened. The source of their exposure is still undetermined.
SCULLY: These symptoms, would you characterize then as acute or somatic?
Dr Seizer is confused.
SCULLY: I'm a medical doctor.
DR. SEIZER: They're somatic, although I don't think we've seen the worst of it. The effects are degrading rapidly, spontaneous internal bleeding in the mouths and intestinal tracts...
Mulder looks around.
DR. SEIZER: ...blood in the urine. All these men are suffering severe delirium, the pre-advanced stages of coma.
SCULLY: What kind of exposure are we talking about here?
DR. SEIZER: 200, maybe 400 Roentgens, with a high rate of absorption.
SCULLY: That's verging on the levels of victims of Hiroshima suffered.
DR. SEIZER: Whatever these men came in contact with, it was man-made. Levels like this just don't appear in nature.
MULDER: Not on this planet.
SCULLY: Did you get the chance to talk to any of them?
DR. SEIZER: No, they were in pretty bad shape by the time they got to me, except for one man, and this was strange because he's the only one who seems to be completely unaffected. I held him for the first day, but I detected none of the symptoms of the others. His leukocytes and erythrocytes were high. Actually, he was in very good health.
MULDER: How could that be? With that level of radiation, how could one man not be exposed?
DR. SEIZER: Doesn't make any sense, but it's lucky for these men because he was the one who piloted the boat in. And none of these men could've done that in their condition.
MULDER: Could it be possible for us to talk to him?
DR. SEIZER: You could if he was still here, but he discharged himself this morning. He's a Frenchman, has a San Francisco address, his name is Gauthier.
San Francisco, CA
Gauthier enters house #64, looks around, looks at a picture of himself and a woman. The phone rings, he doesn't answer and continues to look around.
US Naval Station
San Diego, CA
On the Piper Maru, people in yellow isolation suits take off their masks and get off the ship.
A MAN'S VOICE: Ok let's wrap it up and get in the trucks.
Mulder and Scully arrive in their car. Scully is using her cell phone.
SCULLY: I'm getting no answer at this man Gauthier's home number.
MULDER: Try the INS or the French Consulate, see what you can pull on him.
Scully tries a different number.
SCULLY: Yes, can I have the number for the French Consulate please?
A man in blue approaches.
MULDER: Agents Mulder and Scully, FBI.
MAN: I'm Wayne Morgan. I'm with the Navy's investigative services unit.
MULDER: Have you turned anything up?
MORGAN: No nothing, but I'm not exactly sure what I'm supposed to be looking for.
MULDER: The crew of this ship is being treated for radiation.
MORGAN: Yeah we got all that, we had hazmat team poring over the boat, didn't find a trace.
MORGAN: We have divers in the water going over the hull, put probes down the bilge. Couldn't detect the slightest level.
MULDER: So it's ok for us to go on board?
MORGAN: Sure, you'll probably get more radiation off your cell phone.
On the boat. The lights are out. Mulder, alone on one side, looks around with his flashlight, he takes a look at a dive suit, there is some sort of oil all over it. He notices the suit is equipped with a video camera. Scully is in the room with the monitors. She looks at a charted map with Zeus Faber written at the bottom of it with a marker. The lights come back on.
MORGAN: Generator's back up, is that better?
SCULLY: Yeah, thanks. Is this the way you found this room?
MORGAN: Nothing's been touched, not since she's been tied up here anyway.
MORGAN: It's a mess, huh?
MULDER: Feels like home.
SCULLY: It feels like somebody was looking for something, any idea what?
MULDER: No, I'm looking for the VCR.
SCULLY: What for?
MULDER: The dive suit has a video camera.
Mulder finds the VCR, switches on a monitor, and browses through the tape.
MORGAN: What the hell is that?
MULDER: Looks like the fuselage of a plane.
SCULLY: It's a North American P-51 Mustang.
MORGAN: Yeah it sure is.
MULDER: I just got very turned on.
SCULLY: It's the shape of the canopy. I used to watch my father and brothers put together World War II model planes as a kid.
Mulder passes drawing "Drop Dead Red".
MULDER: Would it have been carrying anything radioactive?
Mulder stops on call numbers JTT0 111470.
SCULLY: No, it was just a fighter.
MULDER: Then what was it those men exposed to?
SCULLY: I don't know, but I might know somebody I can ask.
Gauthier's house. Gauthier's looking all over his files and documents in the drawers of his desk. He finds a letter, opens it and reads it.
WOMAN: You're home!
It's his wife.
WOMAN: I was so worried about you. Why didn't you call me?
She comes and hugs the man but he has no reaction.
WOMAN: There were these men from the consulate, they said there'd been an accident.
He doesn't respond.
WOMAN: Why aren't you answering me?
She gets scared when she sees the guy has been going through his own papers. She steps back from him.
WOMAN: Why aren't you answering me?
She runs, and tries to flee but Gauthier gets to her. He has the oily film over his eyes. A little later, the woman calmly walks out of the house and she now has the oily film over her eyes.
Miramar Naval Air Station
Scully arrives in a car at a check point.
SCULLY: Hi, I'm here to see Commander Johansen.
MILITARY: Name please?
SCULLY: Special Agent Dana Scully, FBI.
She shows her ID.
MILITARY: Do you have an appointment?
SCULLY: No, uh.. he used to be a friend of my father's. I'm out here from Washington and I wanted to surprise him.
MILITARY: Let me give you directions.
SCULLY: I know my way, thanks.
As Scully is driving, she sees children playing, in particular two girls...then she flashes back her and her sister playing the same game.
San Francisco. Mulder knocks at Gauthier's door, with #64 on it.
MULDER: Mr. Gauthier? Mr. Gauthier? Open the door, it's the FBI.
Mulder tries door, it's unlocked, he enters.
MULDER: Mr. Gauthier?
He looks around, notices the mess in the office. He finds a letter in French with the reference JTT0 111470. The top of the page has been torn. E looks for the envelope amongst the papers littering the floor. He sees an envelope with the same logo as the letter, with a return address of J. Kallenchuk Salvage Brokers, 3702 Medlock Street, San Francisco, CA 94101. Mulder puts the envelope in this coat and then there's a sound coming from the kitchen, he draws his gun. Gauthier is lying on the kitchen floor, with oil on him like on the dive suit.
MULDER: Mr. Gauthier? I want you to lie still. I'm with the FBI. What happened?
GAUTHIER: Just fall, I don't know.
MULDER: How did you get here?
GAUTHIER: I can't remember. I was on the boat.
MULDER: The Piper Maru? That's the last thing you remember?
GAUTHIER: Yes, I was on a dive.
MULDER: Do you know where you are?
GAUTHIER: I'm at home.
GAUTHIER: Where's my wife?
MULDER: Nobody else's home, but somebody has been here going over your papers.
GAUTHIER: Where's Joan?
MULDER: She's not here, look.. you need to be careful, you have some kind of oil all over you.
GAUTHIER: What's going on here?
MULDER: I want you to try to remain calm, ok? I'd like to ask you a few questions about a letter. About a J. Kallenchuk Salvage Brokers.
GAUTHIER: I don't recognize that name.
MULDER: Well, somebody did. And I think you know why.
GAUTHIER: I would like to speak with the French Consul General. I have nothing more to say.
Mirimar Base. Scully has been let into a small house.
WOMAN: He'll be right out.
An elderly man, Commander Johansen, comes out of a room.
SCULLY: Commander Johansen?
SCULLY: I'm Dana Scully, I used to live three doors down. My father was Captain William Scully. I went to school with your son.
JOHANSEN: I'm sorry.. my memory isn't quite what it used to be. Richard doesn't live here anymore.
SCULLY: Actually sir, I came to see you. I work for the FBI now and there's a question that I'm hoping you can answer.
JOHANSEN: Um.. well would you come in. Do sit down.
SCULLY: Thank you.
JOHANSEN: Would you like something to drink?
SCULLY: No, thanks.
They both sit in the Commander's study.
JOHANSEN: I know that you were an officer in the Pacific theatre during World War II. I wanted to ask you about a plane that's been discovered.
SCULLY: Yes, a P-51 Mustang at the bottom of the Pacific Ocean...
Scully looks at her notes..
SCULLY: ...with the, uh, call numbers JTT0 111470.
JOHANSEN: Well those are not the call numbers of a P-51.
SCULLY: There was an illustration on the fuselage with the words "Drop Dead Red".
SCULLY: Would the words Zeus Faber mean anything to you?
JOHANSEN: No. But as I said, sometimes my memory is not so sharp.
SCULLY: Well would you know anybody I might be able to talk to? Somebody who might be able to give me that information?
JOHANSEN: I wish I could help you.
SCULLY: I wish you could, too. There's a number of French sailors who may die from radiation exposure. If we knew more about the plane, we might be able to understand why. Anyway, it was very good to see you again, sir.
They stand up and shake hands.
JOHANSEN: Oh say hello to your father for me.
SCULLY: I wish I could, he's passed away.
JOHANSEN: I'm very sorry.
Scully walks towards the door, then stops.
SCULLY: I have to say this place brings back memories for me. I remember all the kids used to play a game called "beckons wanted", right out there. Well.. if you talk to your son, will you tell him I stopped by?
SCULLY: Thank you.
She walks out the house.
3702 Medlock Street
San Francisco, CA
An office. A woman is looking into files. There's a knock on the door.
WOMAN: Who is it?
MULDER: My name is Mulder, I'm with the FBI.
She closes back all the drawers and locks the file cabinets, and put the files she's holding in an attaché, and locks it. She sits at her desk.
WOMAN: It's open.
WOMAN: Can I help you?
MULDER: I'm looking for Mr. Kallenchuk.
WOMAN: I'm sorry Mr. Kallenchuk is out of town, perhaps I could help you with something?
MULDER: Maybe you can tell me where I could find him.
WOMAN: Sure, the Far East.
She puts her hand on a double-barreled gun that is taped to the underside of the desk.
MULDER: Well I've got a letter here typed on his stationary. Maybe you typed it for him.
WOMAN: Sorry, I don't type. What did you say your name was again?
WOMAN: Mr. Mulder, I'd be happy to relay any message you have for him, but I really have no way of contacting Mr. Kallenchuk just now.
MULDER: Ok, well, why don't you have him call me as soon as he can.
Mulder hands her his card.
WOMAN: Sure, the FBI.
MULDER: Yes, what did you say your name was?
MULDER: Thank you, Jeraldine.
Mulder lays low in his car parked in front of the Kallenchuk office. Three cars arrive, with French MIBs carrying guns in them. They burst into the office. Jeraldine drives away having left by the back door. Mulder follows her.
Mirimar base. Scully approaches the check point, she's about to leave the base but she's stopped.
MILITARY: Agent Scully, would you step out the car please?
MILITARY: Just turn off your engine and step out the car please.
SCULLY: What's this about?
MILITARY: You're being detained.
Another car arrives with Johansen in it, he gets out of it and makes a sign to the guard who walks away. He gets in Scully's car.
JOHANSEN: Pull over there.
Scully does as she's told.
SCULLY: What's going on?
JOHANSEN: I can't give your regards to my son, Miss Scully. He was killed in a training accident during the Gulf War.
SCULLY: I'm sorry.
She sees that he's upset.
SCULLY: There's something else, isn't there?
JOHANSEN: We bury our dead alive, don't we?
SCULLY: I don't know if I understand.
JOHANSEN: We hear them every day, they talk to us, they haunt us, they beg us for meaning. Conscience... it's just the voices of the dead, trying to save us from our own damnation.
SCULLY: You know something about that plane, don't you?
JOHANSEN: I know. Because, I was sent to find it.. as an officer in a submarine, called the Zeus Faber.
San Francisco International Airport
Jeraldine picks up a flight ticket at a desk under a sign : Hong Kong, flight 621. Mulder keeps an eye on her, his phone rings.
SCULLY: Mulder, it's me, where are you?
MULDER: San Francisco airport, where are you?
SCULLY: Miramar Airbase. I think I've just found out what those men were exposed to, what the Piper Maru was out there looking for.
SCULLY: That P-51 Mustang was part of an escort for a B-29 carrying an atomic bomb, just like the one we dropped on Hiroshima. Only this one never reached its target.
MULDER: Says who?
SCULLY: Says one of the men originally sent to find it, on a submarine called the Zeus Faber.
MULDER: That was the name we saw written on that dive chart right?
SCULLY: It all makes sense, Mulder, why would they build a nuclear weapon when they can salvage one?
MULDER: Why if they knew about it, why wait fifty years to try to recover it? And why was the only person not exposed, the diver, who sent down to find it.
SCULLY: I don't know.
MULDER: Why don't you try to find out?
SCULLY: What about you?
MULDER: I've got to go to Hong Kong.
SCULLY: Hong Kong?
MULDER: Yeah, look, uh..
He goes to the gate.
MULDER: I'm gonna miss my flight, so uh... I've got to call you back, ok?
Joan, Gauthier's wife, is behind Mulder, and she follows him.
A restaurant. The restaurant is empty except for Skinner who is drinking coffee and reading the menu. Three MIBs enter.
MIB #1 sits in front of Skinner, MIB #2 sits besides him, and MIB #3 stands still.
MIB #1: Anything good here? Anything not on the menu?
SKINNER: You'll have to ask the waitress.
The three MIBs stare at Skinner.
SKINNER: You gentleman have a problem?
MIB #1: When something is not on the menu Mr. Skinner, there's usually a reason, wouldn't you say?
SKINNER: I'm sorry I didn't came here for the conversation.
MIB #2: A hierarchy exists in the FBI, isn't that right? A man has status, like yourself, the assistant director, those under him obey his orders, right?
SKINNER: Who are you guys?
MIB #1: We work for the intelligence community.
SKINNER: Remind me not to move there.
Skinner stands up, and grabs his coat. MIB #1 and MIB #2 stand up also.
MIB #1: You take your orders like those below you, Mr. Skinner. A case is made inactive, the death of an FBI agent's sister, maybe that's because those above you have done the hard work of arriving at that decision.
SKINNER: Thanks for the enlightenment, I'm gonna go now.
Skinner walks away.
MIB #1: It helps to remember these things when a man looks forward to his career, to his plans for future.
Mirimar base. Scully is with Commander Johnsen. A black and white picture of sailors.
JOHANSEN: We'd all joined thinking we'd come home heroes. That's me.
He points at his face on the picture.
JOHANSEN: The rest of the men in the picture...a month later they were all dead. The madness we planned to unleash on the Japanese...we ended up setting it loose on ourselves.
SCULLY: Radiation killed all those men?
JOHANSEN: The men you say had burns on their bodies - that's how it began with us. Awful burns.
A flashback in black and white of what happened.
JOHANSEN: V.O. We'd found the sunken squadron, when a Japanese destroyer moved into the area. But rather than attempt to return home, Captain Sanford ordered us to go to silent running. After three days the burns started to appear. Baker got them first, then Vorce and Innocenti. No one had seen burns like these before. But a lot of us began to suspect they had something to do with the planes that we'd been sent to recover. The men were all frightened to die. As the X.O. I urged the captain to return to port but against all reason and good sense, he refused to leave the area.
In the submarine.
YOUNGER JOHANSEN: Captain Sanford, I'm not an MD but I know a lost cause when I see one, these men are all dying and there's nothing that I can do to stop it.
SANFORD: Just do your damn job.
YOUNGER JOHANSEN: Sir, I'm trying, but if we stay down here any longer, none of us are going home.
SAILOR: You're the XO. You've gotta get us to the surface .
YOUNGER JOHANSEN: We are under the captain's orders.
SAILOR: He's losing his mind.
YOUNGER JOHANSEN: The Japanese are shadowing us. The destroyer is doing wide circles above our position.
SAILOR: You have to take control of this sub sir, you have to make a decision.
ANOTHER SAILOR: We're all gonna die!
Johansen and the man rush to see what's happening. In the room with all the sick people, one of them is holding a gun.
ANOTHER SAILOR: All of us, we're dying, can't you all see that? You've gotta get us outta here
He's speaking to the Sanford who grabs the gun which fires. Sanford tackles the man to the floor. Johansen and the man arrives
JOHANSEN: V.O. Our silence had been shattered by the gunshot. The only command that could save us from the Japanese destroyer now was the command to return home, an order I knew the captain would never issue.
Johansen locks the door, and the captain with all the sick people.
SANFORD: Johansen! Open this door! Open this door! Johansen!
JOHANSEN: V.O. I knew mutiny was our only chance for survival. But I also knew, by sealing that door, I was sealing the fate of the men locked behind it.
Sanford has the oily film over his eyes, and all the other crewmen in the medical room are afraid.
In the present day.
JOHANSEN: By luck, or the grace of God, we made it to Pearl Harbor.
SCULLY: What happened to Sanford and the sick crew men?
JOHANSEN: When they opened that door, those that were not dead were dying. There were 144 men on that boat, only 7 of us survived. Whatever killed then, I was allowed to live, to raise a family, to grow old. None of us ever got an explanation why.
In a restaurant, Jeraldine is eating Chinese food with chopsticks. Mulder joins her at the table.
MULDER: Is this seat taken Miss Kallenchuk? Jeraldine Kallenchuk, isn't it?
JERALDINE: Jerry, with a J.
MULDER: I noticed you flew first class, must be good money selling classified government secrets.
JERALDINE: It's a bull market, hon, and I'm Miss Popular. Let's make a deal.
MULDER: How much for the location of that P-51 Mustang you sold the French government?
JERALDINE: Why should I tell you?
MULDER: Actually I'd rather know who sold you the secrets.
JERALDINE: I'm a middle man Mr. Mulder, pardon my gender type. I take a cut, thin slice off the top. It would be bad business to divulge my sources.
MULDER: Why did you run off to Hong Kong?
JERALDINE: To meet the buyer.
MULDER: To sell him what?
JERALDINE: Pardon your gender type.
MULDER: Oh, your buyer's a woman.
JERALDINE: Actually you know, it's none of your damn business.
MULDER: Actually you know it is my damn business because whatever you're selling is killing half a dozen sailors in a California hospital. Which is why I'm gonna arrest you.
JERALDINE: Arrest me? With what? Your chopsticks? This is Hong Kong, Mr. Mulder, they don't allow handguns here, they took yours away at the airport.
Mulder cuffs the woman to himself.
JERALDINE: Hey! Hey! You can't do that!
MULDER: I just did it, now let's make a deal.
Mulder makes Jeraldine stand up and they get out of the restaurant. They walk now down a dark corridor.
JERALDINE: You are violating my civil rights.
MULDER: You gave up your civil rights when you committed treason.
JERALDINE: You can't force me to do anything.
They are now in front of a J. Kallenchuk Salvage Broker door with Chinese words below.
MULDER: Open it.
She does nothing, so Mulder kicks the door open.
MULDER: Pardon my gender type, but after you.
He pushes Jeraldine in.
MULDER: Where are the lights?
MAN'S VOICE: Right here.
It's Krycek with a gun pointed on Mulder.
MULDER: Krycek. I thought guns were against the law here.
KRYCEK: You know what they say when guns are outlawed...
MULDER: Why don't you take that gun and shoot yourself in your head like you shot my father?
JERALDINE: Great. High Noon in Hong Kong.
KRYCEK: Aw... why don't you shut up!
He pushes Jeraldine out the office and closes the door. She's still cuffed to Mulder.
JERALDINE: My God!
MULDER: It's no way to treat your business partner, especially since she's seems to be moving those secrets you've been selling so well.
On the other side of the door, Jeraldine is shot down by MIBs. Krycek is on his way to the window.
KRYCEK: Looks like she's your partner now.
Mulder looks for his key but drops it.
He tries to reach the dropped key on the floor. On the other side, the MIBs approach, they bust in, but there is nobody on the office.
MAN'S VOICE: Au fond a gauche. Allez on s'depeche, on s'depeche.
They look through the window, Mulder's running away.
MAN'S VOICE: Il est parti. Allez on s'depeche vite, allez les gars on y va.
Mrs. Gauthier arrives in the corridor. The French operatives have run out of the office to chase Mulder. Joan Gauthier glows and shines. The MIBs are down on the floor, blinded by the light. Then the light dims, and Joan Gauthier walks past them the men who now have burns on them.
D.C. The same restaurant as before. Skinner enters holding a newspaper.
SKINNER: Is the coffee hot?
Skinner sits as the same table as before. A man passes him by and goes to the counter. The waitress comes over with a coffee pot.
SKINNER: How's the blue plate?
WAITRESS: Looks good.
She pours coffee for him.
SKINNER: I'll have one, medium rare please.
She takes his order and goes back to the counter. The man at the counter speaks with a Hispanic accent.
MAN AT THE COUNTER: You got a pay phone that's out of order. Nobody complains? I'm complaining.
WAITRESS: I'm sorry, sir. I'm sure it's been called in.
Skinner looks up.
MAN: You're sure? Meanwhile, I'm going to miss the phone call. That's gonna cost me time and money. Who's gonna call that in?
WAITRESS: I'm sorry, sir, I don't know what else to say.
Skinner, irritated, stops reading.
MAN: Say you're gonna pay me the 1.75 the phone ate.
Skinner stands up and goes to the counter.
WAITRESS: No you'll have to deal with the phone company sir.
Skinner is right behind the man.
MAN: You'll deal with 'em, I want my money.
SKINNER: Is there a problem there?
The man turns.
MAN: Yeah there is a big problem.
He draws his gun and fires. Skinner collapses, the waitress screams, the man spits at him.
MAN: Chupa dura ["suck hard"], amigo.
WAITRESS: Oh my god! I'll call 911.
Scully's apartment. Scully gets home. The phone rings, she answers it.
WOMAN'S VOICE: Agent Scully, this is Kim Cook from the director's office.
KIM: We've just got some bad news, AD Skinner has just been shot.
KIM: About an hour ago, he's been taken to Northeast Georgetown.
SCULLY: I'm on my way.
Hong Kong Airport
Krycek looks at a sign: flight 1121 to Washington. He walks towards Mulder who has his back turned, Mulder's acting like he's on the phone. When Krycek reaches Mulder, Mulder turns back, punches him in the face.
MULDER: That's for your partner.
He kicks him under the belt.
MULDER: This is for me.
Mulder draws Krycek's gun and points it at his gut.
MULDER: And this is for my father.
Krycek has blood all over his face.
KRYCEK: No! I didn't kill your father.
MULDER: Now you tell me.
KRYCEK: It wasn't me.
MULDER: Oh yeah? Then who was it?
KRYCEK: I don't know, don't know.
MULDER: Either way, Krycek, you're a liar.
KRYCEK: Come on, finish it Mulder, c'mon finish it, do it.
Mulder releases Krycek but still has him at gun point, but hiding it from the rest of the people.
MULDER: I want that digital tape.
KRYCEK: I don't have it.
MULDER: Like hell you don't. It contains the secrets you were selling as well as everything else our government knows about the existence of extra terrestrial life .
KRYCEK: How could I sell anything? The tape's encrypted.
MULDER: Obviously, you found a way.
KRYCEK: I don't have it. But I'll give it to you if you let me go.
MULDER: Where is it?
KRYCEK: D.C. In a locker.
He takes a key out of his pocket. Mulder reaches for it.
He doesn't give it to Mulder.
KRYCEK: If you let me go, I'll tell you.
MULDER: You put that tape in my hands and we'll talk about it. Why don't you go to the bathroom and clean yourself off? If you're not out of there in three minutes, I'm coming in there to kill you.
Mulder escorts Krycek to the bathrooms, but before, he looks to see if there's no exit in it. Mulder tells him he can go in, and he waits outside. Joan passes by Mulder towards the bathrooms. Krycek washes the blood off his face then goes to a stall. Joan rounds the corner off the corridor but goes into the men's room. Krycek looks down at the floor and sees a woman's foot under the partition. He looks up and sees Joan. He sniggers, then Joan grabs him, lifts him up and smashes him against the wall. Next, Krycek walks out from the bathrooms and walks ahead Mulder.
MULDER: Feel better?
KRYCEK: Like a new man.
He has the oily film over his eyes.