THE X-FILES 09X09: UNDERNEATH 9ABX09 ORIGINAL AIR DATE ON FOX: 03/31/2002 WRITTEN AND DIRECTED BY JOHN SHIBAN (Fox Widescreen High Resolution Digital TV) (presented in Dolby Surround where available) ========================== DISCLAIMER: ========================== THE X-FILES and all its characters, plotlines, quotes, episodes, etc. included here are owned by Chris Carter, and Ten Thirteen Productions, Twentieth Century Fox Film Corporation, All rights reserved. This transcript was made without their permission, approval, authorization or endorsement and it is absolutely forbidden to use it for commercial gain. Please let me know if you find any inaccuracies. If you would like to use this transcript on your site, let me know so I can visit you, too. I do ask that the transcript and all names and disclaimers be left intact to give credit to all those who have painstakingly made this possible for your enjoyment. Feel free to add on your own disclaimer for your particular site. Transcript downloaded from: http://www.allthingx.com Thanks to steph@philedom2k.com For corrections / inaccuracies contact: steph@philedom2k.com ========================== OS SUMMARY: When a case from his past is re-opened, Doggett holds steadfast to his initial conclusions. ========================== 9X09: UNDERNEATH ========================== SCENE #1 BROOKLYN, NEW YORK THIRTEEN YEARS AGO (Night. It's pouring outside. A Triboro Cable van stops outside a house in the suburbs. Inside, the driver cuts the engine. A rosary with crucifix hangs from the rear-view mirror. Bob Fassl looks at the rosary. He gently pulls it from the mirror and kisses it. From the back seat of the van, a raspy male voice interrupts the silence. RASPY MALE VOICE: Get going. (Bob Fassl glances at the rear-view mirror. We see only darkness and shadows.) BOB FASSL: Please... RASPY MALE VOICE: Do your damn job. (BOB FASSL nods. He lifts the collar to his jacket, grabs the work order and tool box from the passenger seat beside him and exits the van into the pouring rain.) CUT TO: SCENE #2: [INSIDE THE HOUSE] JANET (TEENAGE GIRL): You can't think Milli Vanilli is cool. I will disown you. (A teenaged girl is talking to someone on the telephone. Her mother walks out of the kitchen and right into the stretched telephone cord. Her daughter laughs at the conversation she's having with her friend.) JANET (TEENAGE GIRL): (laughing over the phone) You are unbelievable. (Mom rounds the corner and nearly gets tangled in the long telephone cord. She throws Janet a motherly look, ducks under the cord and heads into the kitchen.) JANET (TEENAGE GIRL): Okay, I may puke, but I have to ask. Which one do you intend to marry, Rob or Fab? (The doorbell rings. Mom's busy at the stove checking dinner.) MOM (without looking up): Janet, get that. (Janet turns around and glances over at Mom with an "awww, mom, do I have to" look. Mom glances back with a "yes, you do" look.) JANET (TEENAGE GIRL): Hang on. I'm like the servant around here. (JANET puts the phone down and goes to open the door.) CUT TO: (JANET opens the door. BOB FASSL is standing outside on the porch. His work order in one hand, tool box in the other, and his Triboro Cable ID attached to his jacket. It's still raining.) JANET (TEENAGE GIRL): Yeah? BOB FASSL: Triboro Cable. JANET (TEENAGE GIRL): What do you want? BOB FASSL: Your cable's out. JANET (TEENAGE GIRL): Is it? I don't think so. (BOB FASSL looks down at the work order in his hand. He hesitates a moment, then quickly apologizes and turns to leave.) BOB FASSL: You ... okay, I'm sorry. JANET (TEENAGE GIRL): Wait a sec. Maybe my dad called you. You better... come in. (For some reason, BOB FASSL doesn't look too happy.) CUT TO: (INT. BOB FASSL follows JANET into the house.) JANET (TEENAGE GIRL): TV's in here. Dad! Cable guy's here! (JANET leaves to get back to her telephone conversation.) (BOB FASSL slowly walks into the house toward the tv set. He places his toolbox on the set and braces both of arms around the set. He seems to be struggling with something. Lost deep in thought, a voice from behind startles him.) DAD: Can I help you? (BOB FASSL is startled. He turns around, the work order still clutched tightly in his right hand.) BOB FASSL: There's a problem with your cable? DAD: I was just watching the game upstairs. I think you got the wrong house, buddy. BOB FASSL: Oh. (BOB FASSL turns his back to DAD as if to gather his things to leave. DAD, however, stops him.) DAD: Is ... that your work order? Who called it in? (BOB FASSL looks down at the Triboro work order in his hand still damp from the rain outside. In a moment of stillness, blood splatters across the work order startling FASSL out of his trance.) SEGUE TO: (In the background the buzzing of an unhooked telephone from the next room blares continuously. BOB FASSL seems to be alone in the house. He is still standing in the living room right where DAD left him. In front of him lying in a pool of blood on the living room floor is DAD, a screwdriver sticking out of his neck.) (BOB FASSL slowly makes his way to the kitchen where the beeping of the unhooked telephone grows louder. In the kitchen in front of the stove, MOM is lying dead on the floor in her own blood. JANET (the teenaged daughter) is on the floor nearby, dead.) (Someone is knocking loudly on the front door. The door opens and Police officer DUKE TOMASICK walks in.) OFFICER 1 (DUKE TOMASICK): Police! Don't move! (BOB FASSL looks dazed and a little confused. He's silent as he takes in the crime scene before him. DUKE TOMASICK takes a good look at the living room.) OFFICER 1 (DUKE TOMASICK): Oh, god almighty... (DUKE TOMASICK grabs the still dazed BOB FASSL and pushes him up against the wall.) OFFICER 1 (DUKE TOMASICK): Face the wall. Face the wall! Johnny, check the other rooms. (A second police officer quickly moves past DUKE TOMASICK and BOB FASSL and heads to the kitchen. His gun is drawn, uncertain of what he'll find there. He enters the kitchen and stares at the two bodies. He turns to give his report. It's a young JOHN DOGGETT.) OFFICER 2 (DOGGETT): They're all dead. (DOGGETT sees FASSL and walks determinedly toward him.) OFFICER 2 (DOGGETT): Got you. Got you, you bastard. [Captioning sponsored by Fox Broadcasting Company Twentieth Century Fox Television and Toyota. Get the feeling.] TAGLINE: THE TRUTH IS OUT THERE (COMMERCIAL SET) SCENE #3: [FBI BASEMENT] (REYES exits the elevator at the basement of the FBI building and makes her way through the corridor toward the X-Files office. From the hallway, she can hear DOGGETT on the telephone with someone. He is agitated and getting angrier by the second.) (REYES enters the office and sees DOGGETT standing at his desk, telephone in one hand and papers in the other.) DOGGETT: ... D-O-G-G-E-T-T. Two Gs and two Ts. I was the arresting officer. You're making a huge mistake. I don't care what it shows! I appreciate that, but I don't care what it shows. It's wrong. I was there. We got the right guy. REYES (softly): An X-File? (DOGGETT shakes his head and hands her a newspaper with the following article: Headline: DNA Clears Screwdriver Killer Sub-Headline: Innocent Man Jailed Thirteen Years photo of Robert M. Fassl by Adam Smythe Article: NEW YORK - "After serving thirteen years of a life sentence, recent forensic evidence has found Robert Fassl not guilty. Fassl was originally convicted for murder with a screwdriver. The DNA profile examiner has shown conclusive evidence that samples found on the murder weapon and Fassl's are not a match. ... ") DOGGETT: I'm telling you, you let this guy go, more people are going to die. (The person on the other end hangs up.) REYES: Was that the DA on the case? DOGGETT: Assistant DA. Some jack-off who was probably in ninth grade when this happened. REYES: What is it exactly you want him to do? DOGGETT: Keep the bastard locked up where he belongs. Did you read that? My partner and I busted this guy Fassl when I was a beat cop 13 years ago. He killed seven people. Now they want to let him go so he can kill again. REYES: It says here the DNA evidence proves he's innocent. DOGGETT: It's wrong. It's some lab mistake. It's as simple as that. My partner Duke and I, we catch this 9-1-1. Neighbor's hearing screaming coming from this house on Flatbush Avenue. We get there. Teenage girl, mother, father-- all dead. There's blood ... (DOGGETT pauses at the memory.) DOGGETT: I can still remember the sound of the blood squishing under my shoes. This guy FASSL'S just standing there. REYES: So you didn't actually catch him in the act. DOGGETT: Ten seconds earlier through the door, and we would have. (DOGGETT and REYES turn toward the door as they hear footsteps approaching.) DOGGETT: Tell me you got good news. (SCULLY appears in the doorway. She's holding a thin report.) SCULLY: I have combed through every detail of this ME's report. I have read and re-read it. And I am sorry, Agent Doggett but the DNA fingerprinting does indeed exonerate this man. DOGGETT: You're telling me there's no way? There's not even a million-to-one chance that these DNA tests are wrong? SCULLY: Actually, a hundred million. DOGGETT: I need the reports run again. I need you to do it yourself. SCULLY: Agent Doggett, you just ... (SCULLY stops. She must've seen something in DOGGETT'S face. Something that makes her reconsider the request ... for him.) SCULLY: ... it'd take at least 48 hours. DOGGETT: That's too long. (DOGGETT reaches for his jacket and puts it on.) REYES: Where you going? DOGGETT: New York. I can't just sit here and wait for this guy to kill again. (DOGGETT walks toward the door. SCULLY and REYES both turn to watch him walk out the door. REYES stops him.) REYES: John ... DOGGETT: Look, I get it. Enough people tell you you're drunk it's time to lie down. But I know what I know. I could really use your help. CUT TO: SCENE #4: SING SING CORRECTIONAL FACILITY OSSINING, NEW YORK (The camera pans past cell block after cell block. The camera stops at FASSL'S cell block. FASSL is siting on his bed. He's staring blankly at the walls. GUARD: It's time to go. (The door buzzes open. Tears course down FASSL'S cheeks.) CUT TO: SCENE #5: [SING SING CORRECTIONAL FACILITY] (A box of FASSL'S possessions that was removed from him prior to incarceration was placed in front of him. The box is covered with brown dust from being on the shelves for the last thirteen years.) GUARD: Here you are. (The guard swipes away the dust with the palm of his hand to reveal the form taped to the cover of the box. The following information is on the form: [SING SING CORRECTIONAL FACILITY Ossining, New York Inmate Property Sheet c41 / c41 r1 c3 NAME: FASSL, ROBERT M. INMATE ID: 848-3241m? MONEY: $10.00 US ***: none ***: A4 543267-62 OTHER ITEMS: (1) Rosary; (1) Employee ID, (1) Set Keys]) GUARD: Congratulations, Bob. Best of luck to you. (The GUARD leaves FASSL alone with the box. FASSL opens the box and takes out a rosary with a crucifix attached to its chain. He stares at it in horror, his lips moving in silent prayer. He then kisses it almost in desperation. CUT TO: SCENE #6: KINGS COUNTY COURTHOUSE BROOKLYN, NEW YORK (As FASSL exits the courthouse with his lawyer, a group of reports crowd around them both in what appears to be a make-shift press conference of sorts. Reports shout their questions to the lawyer, cameras bulbs flash and mikes are held out to capture the lawyer's every word.) REPORTER 1: How does it feel to be a free man? REPORTER 2: Are you going to sue the police? REPORTER 3: What do you think you'll do next? JANA FAIN: It goes without saying that my client is happy once more to be a free man. I myself am overjoyed. I think today is a day to celebrate. But tomorrow, we will be looking very closely at the reasons why Bob was falsely accused and incarcerated. Thirteen years of his life were stolen from him. We'll be looking at the Brooklyn DA's office and the New York City Police Department ... (As JANA FAIN speaks, her voice fades. FASSL uncomfortably looks away from the reporters. He's not making any eye contact with anyone. The people around and in front of him move quickly and unnaturally as if everyone is on fast forward. Off in the distance, FASSL notices a long-haired, bearded man standing off in the distance. He seems to recognize the man and is afraid of him. FASSL is interrupted by his lawyer calling to him. JANA FAIN: Bob ... Bob, let's get you out of here. Thank you, too. Thank you. (FASSL looks up from JANA FAIN. The man is gone. Everything returns back to normal.) REPORTER 1: How do you feel? REPORTER 2: What's the first thing you're going to do? JANA FAIN: That's enough. ( All shouting questions ) JANA FAIN: Thank you. Enough. (JANA FAIN and BOB FASSL push their way through the crowd of reporters. The impromptu press conference is over.) CUT TO: SCENE #7: [HALLWAY] DOGGETT: Wait a minute. On top of springing loose a murderer you're telling me the city of New York is going to pay him off? (ASSISTANT DA DAMON KAYLOR is walking down the hallway. DOGGETT and SCULLY are following.) DAMON KAYLOR: Hell, yes, and count ourselves lucky. We didn't spring a murderer. We sprang an innocent man. Or maybe you didn't glean that from our previous conversation. SCULLY: Mr. Kaylor, on the off-chance that that's not true what would be the harm in letting us look through your documents pertaining to this case? I mean, who knows, maybe we can save the city some settlement money. DAMON KAYLOR: Or maybe it gets me in an even bigger jackpot when Jana Fain starts crying police vendetta. Yelling at the papers about the disgruntled former cop who's out to get her client. DOGGETT: Somebody committed these murders, right? And now that you've sprung Mr. Bob Fassl, the victims' families are going to start asking who. How you going to answer them? (Assistant DA DAMON KAYLOR considers what DOGGETT and SCULLY are saying.) CUT TO: SCENE #8: [CONFERENCE ROOM] (There are over 20 file storage boxes stacked up on the table. DOGGETT reaches into the first one, leafs through the files and pulls out a single file folder.) SCULLY: There's a lot of material here. Where should we start? (DOGGETT gives the folder over to SCULLY to look through. ) DOGGETT: Right there. The original arrest report. SCULLY: "Arresting officer: John Doggett." It must've been a career-maker. DOGGETT: Well, it didn't hurt when I put in for detective. The murders had been front-page news for weeks. The sense of relief everybody felt when we caught Fassl, it was ... (DOGGETT shakes his head at the memory.) SCULLY: You know, John ... whatever we find here, sometimes ... sometimes even good cops make mistakes. DOGGETT: Yeah. And I've made more than I can count but this wasn't one of them. Whatever you think ... I'm not here trying to cover my ass. SCULLY: That's not what I think. It's not. I just ... I just worry that maybe this is about you feeling guilty. DOGGETT: I feel guilty. Like what, subconsciously? Like I was told I sent an innocent man to prison only I refuse to accept it? (SCULLY looks at DOGGETT. DOGGETT: A cop I know, a man I respect deeply he told me one time, 'you don't clock out at the end of your shift unless you know you did everything you could.' That's what this is about -- me not clocking out. (SCULLY understands. They both turn their attention back to the files to go through the documents.) CUT TO: SCENE #9: FAIN RESIDENCE LITTLE NECK, NEW YORK (JANA FAIN and BOB FASSL enters JANA FAIN'S residence. The house is very large and indicates wealth.) JANA FAIN: Bob, I just want you to make yourself at home while you're here. Just relax. Oh! (JANA FAIN notices another woman standing behind BOB FASSL. She is her housekeeper, MRS. DOWDY.) JANA FAIN: Mrs. Dowdy, this is Bob Fassl. He'll be staying with us for a while. MRS. DOWDY: Oh, I have your room all made up. I hope you'll be quite comfortable. (FASSL doesn't say anything to her let alone acknowledge her presence. He is fascinated by his surroundings.) JANA FAIN: Thank you very much Mrs. Dowdy. (MRS. DOWDY leaves. JANA FAIN and BOB FASSL make their way up the main staircase to the bedrooms upstairs.) BOB FASSL: You're rich. JANA FAIN: Well, my parents were. I inherited this when they died. I've been very fortunate. That's why I try and use my family's resources to help where I can. BOB FASSL: You do good things. You're a good person. JANA FAIN: Well, I guess it takes one to know one. (The two continue up the staircase.) CUT TO: [INT. GUEST BEDROOM] (They both enter the guest bedroom.) JANA FAIN: I know some business people who are sympathetic to your situation and when you're ready we'll set up some job interviews. (BOB FASSL doesn't say anything to her. He looks around, moves deeper into the room and quietly sits on the bed. He reaches into his pocket, takes out his crucifix and begins to silently pray.) JANA FAIN: I can only imagine what you must be feeling right now. I'm so sorry for everything you've been through. And I'm so happy for you now. (BOB FASSL remain silent and continues to pray. He doesn't look up. With nothing left to say, JANA FAIN leaves. BOB FASSL returns to praying. He kisses his crucifix once, clasps it between the palms of his hands, and begins to pray fervently and a little louder.) (Suddenly, FASSL stops mid-prayer. He unclasps his hands and sees a bloodied crucifix in the center of his blood-stained palms. FASSL looks scared. He looks up on the gray walls in front of him and sees a message.) (Written in what appears to be dripping blood: KILL HER.) CUT TO: SCENE #10: KINGS COUNTY COURTHOUSE 5:35 PM (In front of the Appelate Division Building, a car parks and a man exits. He's a little older, but it's definitely the former officer DUKE TOMASICK._ DOGGETT: Hey, Buddy! Did you steal that car? DUKE TOMASICK: (laughing) If it ain't the FBI! (Off from the side, DOGGETT approaches his old ex-NYPD partner, DUKE TOMASICK. The two men greet each other with a warm hug.) DOGGETT: Duke Tomasick. Looking good. DUKE TOMASICK: Well, hell, yeah. I was always the pretty one. (DUKE TOMASICK puts an arm around DOGGETT'S shoulders as the two men move toward the building.) DOGGETT: Not that I'd steal you away from even one minute of retirement, but I got to get another viewpoint on this case from someone who was there that night. And, Duke, I'm racking my brain on this thing and I'm coming at it from every possible angle. Was there something we missed? DUKE TOMASICK: Well, yeah, we arrested the wrong man. I'm sorry, John. (DOGGETT looks a bit surprised over DUKE TOMASICK'S easy acceptance of the error.) DUKE TOMASICK: I've been torn up about this since I read it in the paper but unless there's something that you know that I don't I mean, it looks like, uh, we just got to face facts. DOGGETT: Duke, you were there that night! Fassl was the only one in the house! He killed those people! DUKE TOMASICK: John, wise up. Will you drop this thing? DOGGETT: What did you always tell me about being a good cop? You said never to clock out. DUKE TOMASICK: Well, I got another lesson for you, huh? Keep after this thing it's going to bite you in your ass. (DOGGETT looks a little shocked over the turn-around in his friend.) CUT TO: SCENE #11: [BOB FASSL'S ROOM] 10:12 PM (BOB FASSL sits on his knees against the edge of his bed, his hands clasped and resting and resting on the bedspread much in the fashion how little children pray. His lips are moving earnestly in prayer.) (The bedroom door opens, and JANA FAIN peers in. She takes a moment and watches BOB FASSL as he prays. Sensing the interruption, FASSL stops praying and turns to look at her.) JANA FAIN: I'm sorry, I just wanted to see how you were settling in and I should have knocked. (FASSL stands up.) JANA FAIN: I'd read in your file that you had once attended the seminary? That you studied to be a priest? (FASSL nods slightly.) JANA FAIN: I think it's wonderful that all you've been through hasn't diminished your faith. BOB FASSL: I pray all the time. I pray even when it looks like I'm not praying. JANA FAIN: I know someone's listening, Bob. Good night. (JANA FAIN closes the door and leaves. BOB FASSL stands there for a moment and stares at the closed door. He senses someone behind. He turns around and there is the long-haired man whom he saw outside the courthouse the day of his release.) BOB FASSL: no... no! Please don't hurt her. Please ...! (The man viciously swings at FASSL hitting him in the face, pulls out a screwdriver and walks resolutely out the bedroom. BOB FASSL is left behind. He falls to the bedroom floor; his hands clasped in prayer.) FADE TO BLACK: (COMMERCIAL SET) SCENE #12: [CONFERENCE ROOM] (DOGGETT is going through every single sheet of paper in the files. SCULLY enters the room. She carrying a thin manila envelope.) SCULLY: Were you here all night? DOGGETT: There's got to be something here the prosecution overlooked-- I overlooked-- something I can hang this guy with DNA or no. (SCULLY walks further into the room and stops in front of DOGGETT.) SCULLY: Well, speaking of DNA ... DOGGETT: Awww, come on ... SCULLY: The re-tests of the typing confirm the original results--that the hair samples do indeed belong to someone other than Robert Fassl. DOGGETT: So, what do we do? We just go home? This is wrong. This is ... SCULLY: Well, John, there is something else. It's something that explains why thirteen years ago the science of the day identified the hair as Fassl's. I spoke to the forensic examiner who ran the tests and he found a match in 12 of the 13 key genes. DOGGETT: What does that mean? SCULLY: It means that the mitochondrial DNA in the hair sample is genetically similar to Fassl's. In fact, it is remarkably similar. It is so similar that it must be from a blood relative. DOGGETT: Wait a minute. Fassl's an only child. His parents died when he was 13. He's got nobody. SCULLY: I know. DOGGETT: You know? Then you know that what you're saying's impossible. SCULLY: And yet, somehow it's true. CUT TO: SCENE #13: [FAIN RESIDENCE] (On the floor, BOB FASSL sleeps. The rosary/crucifix in his hand. A shadow falls over BOB FASSL and he wakes up. Standing above him is JANA FAIN. She doesn't seem happy.) JANA FAIN: Would you get dressed and come on downstairs, please? CUT TO: (BOB FASSL enters the kitchen. JANA FAIN is standing by the counter sipping from a cup.) JANA FAIN: Bob, this morning I noticed something that I have to talk to you about. The dresser drawers in my bedroom have been opened and somebody had been through my things. BOB FASSL: You weren't home last night? JANA FAIN: I think you know that I wasn't. As it happens, I was called down to county lockup on behalf of another client. If you're going to stay here then you have to respect me, my privacy, my possessions. You're a free man now and with freedom comes responsibility. (She looks at her watch and sighs.) JANA FAIN: I am late for a deposition. Uh ... help yourself to breakfast. Mrs. Dowdy seems to be running late this morning. (JANA FAIN leaves. BOB FASSL is still. His eyes dart around the kitchen looking for something. They finally settle on an old dumb waiter in the corner of the kitchen. From it's closed door, blood is dripping onto the floor.) CUT TO: (BOB FASSL spreads out a large plastic sheet on the floor and places MRS. DOWDY'S bloodied body in its center. FASSL looks down on his bloodied hands.) (BOB FASSL pushes a large mop into the small dumbwaiter using it to scrub clean the blood and the mess. He opens the drawer, selects a small chipping knife. He heads for the kitchen, pauses then enters, determined to get the job done. Hacking and chopping sounds can be heard.) CUT TO: SCENE #14: SING SING CORRECTIONAL FACILITY OSSINING, NEW YORK (REYES, dressed fabulously in black, makes her way through the corridors and meets up with a man. BRIAN HUTCHINSON: Agent Reyes. I'm Brian Hutchinson, the superintendent of the prison. REYES: I appreciate you seeing me on such short notice. BRIAN HUTCHINSON: Anything I can do to help. REYES: Great. I'm reviewing evidence pertinent to the Fassl case. BRIAN HUTCHINSON: Whatever I can do to ensure he gets locked back up again, by all means. Tell me what you need. REYES: Well... thank you. That's an extremely helpful attitude. What's your reason for it? BRIAN HUTCHINSON: I just don't think the system should have let him go. REYES: Why, exactly? The court says he's innocent. BRIAN HUTCHINSON: Maybe, but there's another murder they don't know about. CUT TO: SCENE #15: [HUTCHINSON'S OFFICE] (HUTCHINSON sits down in his chair behind his desk.) BRIAN HUTCHINSON: Bob Fassl's cellmate was a biker named Spud Jennings, a real bad-ass or least he thought he was. REYES: Jennings was murdered? BRIAN HUTCHINSON: Oh, yeah. We found him in a hallway that Bob Fassl had been mopping. He was lying ten feet from Bob Fassl's mop bucket. Fassl nowhere to be found. REYES: Well, Fassl killed him? (BRIAN HUTCHINSON pulls out a thin file. He looks in it and hands it to REYES.) BRIAN HUTCHINSON: The murderer was caught on a security camera once he turned the corner. This is a videograph, a pretty clear one. You can see the blood on his hands. (REYES looks at the videograph and its the same long-haired man that BOB FASSL recognizes.) REYES: One problem: This isn't Fassl. BRIAN HUTCHINSON: This isn't anybody. This man doesn't fit the description of any inmate currently incarcerated here. We haven't been able to find him since. Don't ask me to explain it. We couldn't charge Fassl with it, either, but I sure as hell know he had something to do with it. CUT TO: SCENE #16: [CONFERENCE ROOM] (Day. DOGGETT and SCULLY are working int he conference room going through the files. A man appears in the doorway. It's Assistant District Attorney DAMON KAYLOR.) DAMON KAYLOR: Agent Doggett? A word, please. CUT TO: (The two men meet out in the hallway.) DAMON KAYLOR: Don't you have something to tell me, Agent Doggett? DOGGETT: What do you mean? DAMON KAYLOR: The DNA re-tests. I understand you received the results this morning. Mr. Fassl has been exonerated. Again. DOGGETT: The results aren't that simple. The DNA is similar to Fassl's to a degree we haven't quite made sense of yet. DAMON KAYLOR: I just spoke to the DA. He's authorized a settlement offer which I intend to deliver to Mr. Fassl's counsel posthaste. I'll send the bailiffs down to retrieve the case files. Have a nice flight back to D.C. (DAMON KAYLOR turns and begins to walk away. DOGGETT stops him.) DOGGETT: We need more time to get to the truth! (DAMON KAYLOR turns around.) DAMON KAYLOR: This isn't about the truth. This is about getting a conviction, Agent Doggett. And if we can't get a conviction then the truth doesn't matter. (DAMON KAYLOR leaves DOGGETT standing in the hallway. Behind him, REYES spots DOGGETT and makes her way to him. She's carrying a big file folder briefcase.) REYES: John ... I may have a break in this case. A suspect. DOGGETT: A suspect? Not Fassl? REYES: You really need to see this. CUT TO: SCENE #17: [CONFERENCE ROOM] (DOGGETT is studying the picture of the long-haired mystery man who was videographed at the prison. SCULLY is sitting at the conference table quietly listening to the conversation.) DOGGETT: So, who is he? REYES: I'm wondering more along the line of what is he? I ran him through the known offender database facial recognition -- came up with nothing. It's like he has no identity. Yet, somehow this person materialized inside a maximum security prison, killed an inmate and then vanished into thin air. DOGGETT: Materialized, how, like Casper, The Friendly Ghost? When Duke and I entered that house back in '89 we didn't find ZZ Top here. We found Bob Fassl. End of story. REYES: Yeah, but what if the two were somehow connected? DOGGETT: Monica, for god's sake, this is not an X file. Don't try to turn it into one. REYES: In prison, this being, this person whatever you want to call him ... he acted as if he were protecting Bob Fassl. DOGGETT: Protecting him? How, by getting him locked up in prison in the first place? REYES: So, either he's doing Fassl's bidding or Fassl's doing his. However you slice it, I'm thinking this bearded man was the one who committed the other seven murders. (DOGGETT shakes his head.) REYES: I think we can prove it. DNA evidence in the Sing Sing murder was gathered and filed by the prison authorities. All we have to do is compare it to the DNA from the 1989 murders. SCULLY: No. Unfortunately, that's not going to work. The 1989 evidence has to be thrown out. (Both DOGGETT and REYES look surprised.) DOGGETT: What are you talking about? SCULLY: The hair samples logged to your crime scene, Agent Doggett ... were not there on the day the crimes were committed. DOGGETT: Are you accusing me? Are you accusing me of planting evidence? SCULLY: I am simply stating the facts okay? The DNA evidence that was used to convict Bob Fassl ... was planted. CUT TO: SCENE #18: [FAIN RESIDENCE] (Day. There's a brief knock on the door. BOB FASSL opens the door. DAMON KAYLOR is standing on the porch.) DAMON KAYLOR: Mr. Fassl. I'm Damon Kaylor. I need to speak with your attorney. Is she here? (BOB FASSL doesn't say anything. He opens the door wider allowing DAMON KAYLOR into the residence. He looks around as he steps into the foyer.) BOB FASSL: You were at my hearing. DAMON KAYLOR: I'm the Assistant District Attorney. Is Jana home? BOB FASSL: She's not here. DAMON KAYLOR: Mr. Fassl, I came to make a settlement offer on your case. It's .. there's no reason to be upset. This is good news for you. Tell her to call me. We'll work it out. (DAMON KAYLOR moves toward the door to exit the residence. BOB FASSL moves to stop him. A desperate man with a desperate plea.) BOB FASSL: I want to go back. DAMON KAYLOR: I'm sorry? BOB FASSL: Please, send me back to prison. (DAMON KAYLOR is surprised by what he's hearing and begins to back away from BOB FASSL.) DAMON KAYLOR: Uh, listen, Mr. Fassl, I, uh ... I shouldn't even be discussing this with you without your attorney present. BOB FASSL: But it's my fault. DAMON KAYLOR: I-I... I can't be hearing this. BOB FASSL: It's the truth. DAMON KAYLOR: That's not my concern. (DAMON KAYLOR stops. A look of surprised shock on his face. BOB FASSL has that look of concentration on his face. As we watch DAMON KAYLOR, a trickle of blood appears at the corner of his mouth.) (When DAMON KAYLOR falls to the floor dead, standing behind him is the mysterious long-haired man holding a bloodied screwdriver.) (BOB FASSL falls to his knees, weeping over DAMON KAYLOR'S dead body.) FADE TO BLACK (COMMERCIAL SET ) SCENE #19: [CONFERENCE ROOM] (DUKE TOMASICK is looking at the New York Police Department Property Log.) DUKE TOMASICK: I'm sorry, John. DOGGETT: You framed Fassl. DUKE TOMASICK: You saw how it was going down. We arrested him at the scene but he-he left no prints no hair, no fiber. Nothing to actually tie him to the murders. DOGGETT: How did you do it? DUKE TOMASICK: It took a ... part of a hair sample that was found at a-a previous murder and I put it in with the evidence from our crime scene. (DOGGETT sighs. He can't believe what he's hearing. ) DUKE TOMASICK: Johnny ... it was the one and only time I ever did anything like that. I-I was scared Fassl would walk. I-I couldn't let that happen. Not when I knew that ... I knew he was guilty. Guilty. God almighty. DOGGETT: You know this is going to come out. I mean, no one's going to hear it from me but ... but I can't put Agent Scully on the spot. I can't ask her to lie. DUKE TOMASICK: I don't want you to. DOGGETT: Duke, you son of a bitch! This is a felony! I don't know how I can forgive you for this. You break my heart. (DOGGETT sighs and shakes his head. Behind him, the door opens and SCULLY is standing by the door.) SCULLY: Excuse me. Agent Doggett? A.D.A. Kaylor-- I assume you haven't seen him. DOGGETT: No. Why? SCULLY: Apparently, nobody has. CUT TO: SCENE #20: [UNDERNEATH] (Somewhere dark and damp where there's rushing water, FASSL is busy at work. Sounds of cement slapping.) (FASSL'S done. He moves and walks away. DAMON KAYLOR'S bloodied hand protrudes from the fresh cement wall. FASSL moves away from the wall toward the opening in the sewer system, passing more bones along the way.) CUT TO: SCENE #21: [INTERVIEW ROOM] (DOGGETT is standing in the observation room watching REYES and SCULLY interview BOB FASSL with his lawyer, JANA FAIN sitting next to him.) REYES: Mr. Fassl, when was the last time you saw Damon Kaylor? JANA FAIN: Two days ago, at his release hearing. My client had nothing to do with Mr. Kaylor's disappearance. No direct involvement. None. REYES: I think we can accept that. We're also prepared to accept that Mr. Fassl had not direct involvement in the seven murders he was previously convicted of. JANA FAIN: How magnanimous of you. It's too bad you're 13 years too late. Is that it? REYES: No. Actually, we believe this person committed the murders. (REYES puts the videograph of the mysterious long-haired man taken from the prison. BOB FASSL gasps in surprise. Everyone notices his reaction.) REYES: What do you think? Do you recognize this man? (BOB FASSL slowly begins to rock in his chair. He holds his rosary/crucifix in his hands in silent prayer.) JANA FAIN: You know we're here as a courtesy which is something the police and the prosecution never showed Bob once. SCULLY: Are you a catholic, Bob? (BOB FASSL nods his head.) SCULLY: So, am I. I remember times in my life when my rosary was a great comfort to me. Comfort in times of tribulation. And watching you now, I get the feeling that this is a tribulation for you. (SCULLY reaches over and pushes the photo closer to BOB FASSL.) SCULLY: This man. Is it that he won't leave you alone, Bob? Is it that you just want him to go away ? Tell us about him. Tell us, so we can help make him go away. (BOB FASSL'S hands begin to really work through his rosary beads. His eyes are glued to the picture. He opens and closes his mouth several times as if to answer her, when his lawyer interrupts.) JANA FAIN: No more mind games. We're done. (BOB FASSL looks at his lawyer. He seems to want her to help him. JANA FAIN stands up. BOB FASSL stands up. They both leave the room. The door closes behind them. REYES and SCULLY watch them leave. DOGGETT enters the room from the opposite door.) DOGGETT: What the hell was that? REYES: I don't know about you but that was me changing my theory. DOGGETT: What, no more ghosts? REYES: Uh, nope. Just Fassl. (SCULLY turns to REYES slightly to listen to this new theory.) REYES: What if a man of profound faith -- a devout catholic -- was incapable of contrition? SCULLY: As in, he couldn't admit his own sins? REYES: Or even that he had a sinful side to him as we all do. What if he were so frightened by it that he couldn't even admit it to himself? Might not someone like that manifest a second personality? DOGGETT: But it wouldn't explain the DNA evidence. REYES: It would if he physically became that other personality. DOGGETT: So what, we've moved on from Casper, The Friendly Ghost to Dr. Jekyll and Mr. Hyde? REYES: There is a precedent -- in the catholic canon itself. Transubstantiation: The manipulation of matter and energy. SCULLY: You mean, water into wine. REYES: Or the communion wafer into the Body of Christ. DOGGETT: Monica, I've slept through my share of sunday schools but I never heard the story about the guy becoming another guy. REYES: It's the one explanation that makes sense. It explains what happened 13 years ago and it explains what's happening now. SCULLY: So what you're saying is ... because this man won't face himself, won't face his own sins then he is forced to become someone else. (REYES nods.) SCULLY: A killer. DOGGETT: So, how does someone go about catching a killer who hides inside an innocent man? CUT TO: SCENE #22: [FAIN RESIDENCE] (BOB FASSL is leaning over the bathroom sink washing his face. He shuts the water off, straightens and gasps as he sees the reflection of something in the bathroom mirror. He turns around to see written in blood on the opposite wall, the words, "KILL HER".) (BOB FASSL turns slowly to the side to see THE BEARDED MAN, the mysterious long- haired man, standing there.) THE BEARDED MAN: Do it. (THE BEARDED MAN swings and connects his fist with BOB FASSL'S chin. The anger and rage in THE BEARDED MAN is apparent. He takes another swing and backhands BOB FASSL.) BOB FASSL: I don't want to hurt her! (THE BEARDED MAN grabs BOB FASSL and flings him against the bathroom sink hitting his forehead against the hard porcelain. BOB FASSL falls to the ground in pain.) (THE BEARDED MAN bends over him and stares at him.) (A persistent knocking on the bathroom door interrupts him.) JANA FAIN: Bob? Are you okay? (He's holding a screwdriver in his hand. Holding the screwdriver out for BOB FASSL to take.) THE BEARDED MAN: Kill her. (JANA FAIN opens the bathroom door and sees BOB FASSL on his back on the floor.) JANA FAIN: Oh, my god. What happened? BOB FASSL: I, uh... I-I fell. (She touches the cut on his forehead lightly.) JANA FAIN: I'll fix you up. You're going to be okay. (BOB FASSL gets up and stands behind JANA FAIN as she opens the medicine cabinet to get the supplies to clean his cut. When she closes the medicine cabinet mirrored door, THE BEARDED MAN is standing there where BOB FASSL stood just moments before.) (JANA FAIN gasps as she recognizes him.) CUT TO BLACK (COMMERCIAL BREAK) SCENE #23: [STAKEOUT OUTISDE THE FAIN RESIDENCE] (Night. Both DOGGETT and REYES are outside JANA FAIN'S residence staking out the house.) REYES: I'll take the next couple of hours. You should get some shuteye. John, give yourself a break. You haven't slept in 48 hours. DOGGETT: I'll sleep once we make sure this guy Fassl never kills again. Fassl and his ... Charlie Manson sidekick. REYES: They're one and the same person. DOGGETT: Monica, I don't want to hear ... REYES: Okay, but I just need to hear another theory that makes sense. DOGGETT: That theory doesn't make any sense. How the hell to you does that make sense? Meat-and-potatoes police work is what busted this guy 13 years ago. And it's what's going to bust him again. And that's enough. And the day that's not enough ... then I don't know what to tell you. (He sighs.) DOGGETT: 'Cause I got nothing else. (DOGGETT turns away from REYES and is staring out the car window and back at the house.) (The bearded man exits the front door, he looks around and then runs off in the opposite direction.) DOGGETT: I'm going to go check it out -- the front door. (DOGGETT and REYES get out of the car and both start to run after the man. The bearded man runs across the lawn and disappears into the darkness around the side of the house.) (They both reach the front porch. DOGGETT starts to run after the bearded man.) DOGGETT: Jana Fain -- check on her. (REYES starts to head into the house, just as JANA FAIN appears in the doorway.) JANA FAIN: Oh, my god. He was here. He was here -- the man in your photo. REYES: The bearded man? (JANA FAIN nods. She's still shaken by the experience.) REYES: Where's Bob Fassl? JANA FAIN: Oh, he-he was right there ... and then he wasn't ... I don't ... I don't know where. DOGGETT: Agent Reyes? REYES (to JANA FAIN): Call the police. DOGGETT: Agent Reyes! (DOGGETT is struggling to get the heavy iron "Cable Access" manhole cover off.) DOGGETT: Fassl worked for Triboro Cable. (DOGGETT manages to get the opening clear and proceeds down into the underground passageway. REYES follows.) DOGGETT is looking for any indication of where FASSL may have gone. DOGGETT: Trail ends here. (REYES flashes her light on three dark spots on the ground.) REYES: Blood. (REYES shines her flashlight down the long, dark tunnel.) REYES: He could have gone either way. (She turns her flashlight toward the other passageway and sees THE BEARDED MAN standing there. Right in front of her. REYES barely has time to yell out a warning when THE BEARDED MAN swings his weapon at her.) REYES: John! (DOGGETT turns around, his weapon raised. He manages to get in several shots as THE BEARDED MAN retreats down the dark corridor.) DOGGETT: You okay? REYES: Yeah. (DOGGETT helps REYES up.) DOGGETT: Come on. (They both follow after THE BEARDED MAN/BOB FASSL. Some ways down through the tunnels, they come to an intersection.) REYES: I'll take this way. (DOGGETT continues to weave his way deeper into the tunnels.) (DOGGETT stops at a metal grate in the cement flooring. One level below him/them, water runs through the tunnels.) CUT TO: (MEANWHILE, REYES continues to search through the tunnels. She steps onto the grating, falls through it and into the water that runs through the tunnels underneath them.) (Wet, REYES points her flashlight upward to gage the distance she fell. She moves to the nearest side to get out of the water. She puts her flashlight on the cement flooring to pull herself up and is distracted by the sight before her. She comes face to face with the bloodied head of DAMON KAYLOR, the missing ADA.) (REYES looks up and is shocked at what she sees. She pulls herself out of the water.) CUT TO: (DOGGETT is making his way down the stepladder to the level underneath. He continues to search for THE BEARDED MAN/BOB FASSL.) CUT TO: (REYES shines her flashlight along the tunnel wall and discovers dozens of human skulls and bones embedded from top to bottom inside the tunnel wall.) REYES: John! CUT TO: (DOGGETT continues to make his way through the tunnels, unaware of REYES' grizzly discovery. As he continues, he barely makes out REYES' voice.) REYES: John! DOGGETT: Monica! (DOGGETT, sensing that something is about to happen, reaches for his holstered weapon. Behind him, THE BEARDED MAN suddenly appears behind him. He's holding a screwdriver which he plunges into DOGGETT'S shoulder. DOGGETT yells at the pain and drops his gun into the water.) CUT TO: (REYES slowly makes her way toward the sound of DOGGETT'S call. She has her gun and flashlight out in front of her, prepared to meet BOB FASSL.) (When she turns the corner, she sees THE BEARDED MAN/BOB FASSL holding his screwdriver against DOGGETT'S neck. His hands are bloodied.) REYES: Let him go. You hear me?! Let him go! DOGGETT: Don't waste your breath. Just shoot the bastard. REYES: Bob Fassl, I'm talking to you. I know you're in there, Bob. There's some small part of you in there that couldn't kill Jana Fain when you had the chance. BOB FASSL: I'll kill him! REYES: I believe you, Bob, because you're a murderer. BOB FASSL: Shut up! I'm not him. REYES: You're not just a murderer. You're a sinner. BOB FASSL: Shut up! Shut up! Shut up! (DOGGETT takes the opportunity to free himself. He struggles for the screwdriver with THE BEARDED MAN/BOB FASSL. ) DOGGETT: Monica! (REYES fires and hits THE BEARDED MAN/BOB FASSL in the chest. He falls into the water.) (DOGGETT jumps in after him. He reaches the man floating face down in the water. He turns him over. It is BOB FASSL.) (DOGGETT looks stunned. The proof confirming REYES' theory correct.) CUT TO: SCENE #24: [UNDERNEATH] (SCULLY is looking at the bloodied head of MRS. DOWDY, JANA FAIN'S housekeeper.) (There is a crew there to do their jobs. SCULLY makes her way to a grieving JANA FAIN, who is standing quietly off to the side.) JANA FAIN: My housekeeper, Mrs. Dowdy-- can I see her? SCULLY: It's better that you don't. JANA FAIN: And the district attorney? SCULLY: There are a lot of bodies in there. JANA FAIN: Oh. SCULLY: There are many more victims than anyone ever knew. (JANA FAIN looks down at the dead body of BOB FASSL.) JANA FAIN: I saw a bearded man. I know what I saw. (Off to the side, DOGGETT overhears. He's still stunned by what he saw.) SCULLY: Ms. Fain, I think we better get you home. (As they leave, SCULLY stops in front of DOGGETT. She sees the confusion on his face. She pauses, yet doesn't say anything. She follows JANA FAIN out of the tunnels.) (DOGGETT watches as BOB FASSL is put into a body bag. They zipper the bag closed. BOB FASSL is out of DOGGETT's sight, yet he's still silent.) (Next to him, REYES watches him. She grows more worried with DOGGETT'S silence.) REYES: John... ? DOGGETT: (tired) I've been 48 hours without sleep. I found out my ex- partner's a liar and a felon. Don't ask me to explain how this could be. REYES: So what happened tonight? All that was just you seeing things? DOGGETT: I can't accept this. If you can, God love you, but it's not the way my mind works. REYES: You closed this case. This time around, that was enough. DOGGETT: What happens next time? FADE TO BLACK. ========================== THE END ========================== [Captioning sponsored by Fox Broadcasting Company Twentieth Century Fox Television and Toyota. Get the feeling. Captioned by media access group at wgbh access.Wgbh.Org] For corrections / inaccuracies contact: steph@philedom2k.com Transcriptionist: intrepid (intrepidly002@yahoo.com) ========================== TV BEGINNING CREDITS & OS SITE CAST INFORMATION (where available) ========================== 9X09: UNDERNEATH #9ABX09 ORIGINAL AIR DATE ON FOX: 03/31/2002 WRITTEN AND DIRECTED BY JOHN SHIBAN Starring: GILLIAN ANDERSON as Special Agent Dana Scully ROBERT PATRICK as Special Agent John Doggett ANNABETH GISH as Special Agent Monica Reyes Created by Chris Carter Guest Starring: W. EARL BROWN as Robert M. Fassl LISA DARR as Jana Fain ALAN DAVIDSON as The Bearded Man/Male Voice ROBERT CURTIS BROWN as ADA Damon Kaylor PAUL VINCENT O'CONNOR as Warden Brian Hutchinson and ARTHUR NASCARELLA as Duke Tomasick Music by MARK SNOW Editor: CHRISTOPHER COOKE, A.C.E. Production Designer: COREY KAPLAN Director of Photography: BIL ROE, ASC Producer: TONY WHARMBY Producer: HARRY V. BRING Supervising Producer: DAVID AMANN Supervising Producer: PAUL RABWIN Co-Executive Producer: KIM MANNERS Co-Executive Producer: MICHELLE MacLAREN Executive Producer: JOHN SHIBAN Executive Producer: VINCE GILLIGAN Executive Producer: FRANK SPOTNITZ Written and Directed by JOHN SHIBAN ========================== TELEVISION ENDING CREDITS ========================== Executive Producer: CHRIS CARTER TEN THIRTEEN PRODUCTION (in association with) 20TH CENTURY FOX TELEVISION: A NEWS CORPORATION COMPANY Associate Producer: DENISE PLEUNE Executive Story Editor: STEVEN MAEDA Story Editor: THOMAS SCHNAUZ Co-Starring: Mom: CAROL KIERNAN Mrs. Dowdy: MARY-MARGARET LEWIS Dad: MICHAEL PATTERSON Teenage Girl: KELLY McNAIR Guard: AARON D. SPEARS Reporter #1: RICK GARCIA Reporter #2: PAMELA KAY DAVIS Reporter #3: LEAH SANDERS Casting by: RICK MILLIKAN, C.S.A. Unit Production Manager / Co-Producer: TIM SILVER First Assistant Director: BARRY K. THOMAS Second Assistant Director: NINA JACK Visual Effects Producer: MAT BECK Art Director: SANDY GETZLER Set Decorator: TIM STEPECK Assistant Set Decorator: RON FRANCO Leadman: DAVE NAPOLI Script Supervisor: ANNE MELVILLE Gaffer: JONO KOUZOUYAN Key Grip: TOM DOHERTY Special Effects: KELLY KERBY Stunt Coordinator: DANNY WESELIS Visual Effects Supervisor: JOHN WASH Make-up Department Head & Special Make-up: CHERI MONTESANTO-MEDCALF Special Make-up: MATTHEW W. MUNGLE Hair Department Head: DENA GREEN Make-up for Ms. Anderson: LAVERNE MUNROE Costumer for Ms. Anderson: NADINE HADERS Costume Designer: LUELLYN HARPER THOMAS Costume Supervisors: ROBERT JACOBS / JENNIFER SOULAGES Property Master: TOM DAY Camera Operator: JIM ETHERIDGE Steadicam Operator; STEPHEN COLLINS Location Managers: ILT JONES / MAC GORDON / MICHELLE LATHAM Transportation Coordinator: STEVE DUNCAN Construction Coordinator: DUKE TOMASICK Sound Mixer: STEVE CANTAMESSA Production Accountant: NANCI ETCHELLS Production Coordinator: JASON A. SCHOMAS Script Coordinator: MIKE DALEY Researcher: KATRINA CABRERA ORTEGA Writers' Assistant: GABE ROTTER Post Production Supervisor: JASON HARKINS Original Casting by: RANDY STONE, C.S.A. Casting Associate: KIMBERLY NORDLINGER Casting Assistant: ELISHA GRUER Extra Casting: CENTRAL CASTING & CENEX Second Unit Director of Photography: BOB LABONGE First Assistant Director: XOCHI BLYMYER Second Assistant Director: STACI LAMKIN BOGGERI Gaffer: DON BIXBY Key Grip: JOEY KRAFT Assistant Editors: DEBORAH CHALEW / JEFF CAHN Scoring Mixer: LAROLD REBHUN Music Editor: JEFF CHARBONNEAU DaVinci Colorist: ANTHONY R. SMITH Dallies Colorist: PETER RITTER On-Line Editors: KIP GIBSON / MARTY ROSENSTOCK Post Production Sound: WEST PRODUCTIONS, INC. Sound Supervisors: HARRY ANDRONIS Re-Recording Mixers: DAVE WEST / HARRY ANDRONIS / BRIAN HARMAN Vice-President, Ten Thirteen: MARY ASTADOURIAN Office Manager, Ten Thirteen: JANA FAIN Assistant to Chris Carter: BRAD FOLLMER Assistants to the Producers: SANDRA TRIPICCHIO / GENNIFER HUTCHISON / BLAKE MCCORMICK / GINGER WADLEY / STEPHANIE M. HERRERA Main Title Design by IMAGINARY FORCES Original Main Title Concept by: CASTLE / BRYANT / JOHNSEN Processing by DELUXE LABS Telecine & Electronic Assembly by HOLLYWOOD DIGITAL Presented in DOLBY SURROUND where available Camera Systems by PANAVISION This production has not been approved, endorsed, or authorized by the Federal Bureau of Investigation. Copyright (c) 2002 Twentieth Century Fox Film Corporation All rights reserved #9ABX09 Twentieth Century Fox Film Corporation is the author of this motion picture for purposes of copyright and other laws. The characters and events depicted in this photoplay are fictitious. Any similarity in actual persons, living or dead, is purely coincidental. Ownership of this motion picture is protected by copyright and other applicable laws, and any other unauthorized duplication, distribution or exhibition of this motion picture could result in criminal prosecution as well as civil liability. Dated: 05/26/2002~lky