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#912 : Dans les Abîmes

Titre original:
Underneath

1re diffusion américaine:
31 mars 2002

1re diffusion française:
/

Réalisation:
John Shiban

Scénario:
Chris Carter
John Shiban

Guest stars:
W. Earl Brown (Robert M. Fassl), Robert Curtis Brown (l'assistant du procureur Damon Kaylor), Lisa Darr (Jana Fain), Paul Vincent O'Connor (Brian Hutchinson), Arthur J. Nascarella (Duke Tomasick), Alan Davidson (l'homme barbu)...

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Un meurtrier arrêté par l'agent Doggett treize ans auparavant et surnommé "le tueur au tournevis" est bientôt innocenté et remis en liberté grâce à des tests génétiques. Il ne tarde pas à vouloir se venger de John Doggett...

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Plus de détails

912 - Dans les abîmes

 

New-York, 13 ans plus tôt
Un homme serre une croix dans sa main. Un autre homme qu'on ne voit pas lui parle et demande à qu'il accomplisse son travail. L'homme avec la croix sort de sa voiture. Une jeune fille, Janet parle au téléphone quand sa mère vient près d'elle. L'homme avec la croix est derrière la porte, il vient réparer le câble. Janet appelle son père et fait entrer l'homme. La télévision n'a aucun problème, il regarde la facture pour voir s'il est à la bonne adresse et le père de Janet meurt subitement. L'homme avec la croix se déplace dans la maison et tous les occupants sont morts. Deux policiers entrent et découvrent les cadavres. L'homme est arrêté. Un des policiers est Doggett.

ACTE 1
Monica entre dans les X-Files et trouve Doggett au téléphone. Il a lu dans le journal que l'homme à la croix allait être libérer et il n'est pas d'accord. Par contre, dans l'article, il est innocent, mais Doggett dit que le laboratoire qui a analysé le sang sur les lieux du crime s'est trompé. L'homme à la croix s'appelle Fassl. Scully apparaît, l'ADN du meurtrier et celui de Fassl n'est pas le même. C'est une mauvaise nouvelle pour Doggett. Il retourne à New-York. Il ne veut vraiment pas que Fassl sorte de prison. Il demande l'aide de Scully et Reyes, il sait ce qu'il a vu, trois victimes et Fassl était là. .

En prison, Fassl est sur le point d'être libérer. On lui remet ses effets personnels. Il sort la croix. Lorsqu'il sort de la prison, il confronte les journalistes, mais son avocat s'en occupe. Il voit les gens allé très vite autour de lui et il voit la vision d'un homme ayant les cheveux longs et une longue barbe.

Doggett et Scully arrivent et rencontrent M. Kaylor. Celui-ci est convaincu que Doggett a fait emprisonner un homme innocent. Doggett et Scully regardent des archives sur l'affaire Fassl. Scully regarde le rapport de l'arrestation. Elle voit que c'est lui qui a signé le rapport, elle se tourne vers lui et lui dit que même les meilleurs policiers font des erreurs. Cette affaire a permis à Doggett d'avoir une promotion, il ne veut pas lâcher, il veut savoir s'il a fait tout ce qu'il pouvait.

Fassl arrive avec son avocate dans une maison. Elle lui présente Mme Dowdy, il restera dans cette résidence pendant plusieurs jours. Ils montent les escaliers et ils arrivent dans une chambre. L'homme sort la croix. L'avocate s'en va. Fassl se met à prier et tout d'un coup, ses mains deviennent en sang et sur le mur, il est écrit : Tue-la.

Doggett rencontre son ancien coéquipier, Duke Tomasick. Ils se serrent dans leurs bras. Duke est sûr qu'ils ont arrêté le mauvais homme. Il lui demande de laisser cette affaire s'il ne veut pas nuire à sa carrière.

Fassl est dans sa chambre et il prie encore, l'avocate vient le rejoindre. L'homme a étudié pour être prêtre. L'acocate s'en va et l'homme qu'il a vu dans la voiture avait de tuer les 3 personnes réapparaît. Fassl le supplie pour qu'il ne tue pas l'avocate. L'homme le frappe et s'en va.

ACTE 3
Doggett regarde des dossiers quand Scully entre. Elle a une mauvaise nouvelle pour lui. Scully a analysé l'ADN du tueur et celui de Fassl. Fassl n'est vraiment pas le meurtrier. Elle a une explication pourquoi il y a 13 ans, le laboratoire avait accusé Fassl. Elle a parlé à celui qui a examiné les cheveux de Fassl (la preuve pour vérifier l'ADN), il a trouvé 12 gênes identiques entre Fassl et le tueur ce qui pourrait dire que le tueur a un lien de parenté avec Fassl. C'est impossible d'après Doggett parce que ses parents sont morts lorsqu'il avait 13 ans et il était enfant unique. Scully le sait. Doggett est tout mêlé.

Fassl est étendu sur le plancher de sa chambre, l'avocate arrive près de lui. Elle n'était pas là le soir avant, c'est pour cette raison qu'elle est encore vivant, mais les tiroirs de sa commode ont été vidés. Elle s'en va en lui disant de respecter sa vie privée. Il trouve le corps de Mme Dowdy, il nettoie l'endroit où elle a été trouvée, il prend un couteau et la coupe en morceau.

Reyes va à la prison Sing Sing et rencontre Brian Hutchison. Il veut l'aider. Elle veut revoir les preuves concernant Fassl. Il va lui donner. Reyes est surprise face à cet enthousiasme. Il veut que Fassl retourne en prison. Fassl avait un compagnon de cellule, Spud Jennings, lui aussi était un tueur et il a été retrouvé mort dans le corridor où Fassl travaillait. La caméra de surveillance a capté le meurtrier tourner le coin. Il prête le dossier à Reyes. Le meurtrier est l'homme au cheveux bruns et à la barbe, mais cet homme est personne. Il figure dans aucun fichier. Il est sur que l'homme exécutait les ordres de Fassl.

Scully et Doggett regardent encore les dossiers. Kaylor vient les déranger et demande à voir Doggett. Il n'est pas content parce que Doggett ne l'a pas prévenu que Scully allait refaire l'analyse de l'ADN de Fassl. Il demande à Doggett de laisser l'enquête et de retourner à Washington. Reyes arrive près de lui. Il veut lui montrer un suspect qui n'est pas Fassl. Elle lui montre la photo de l'homme aux cheveux longs. Elle n'a rien trouvé sur l'identité de l'homme. Reyes dit que cet homme est entré dans la prison et que le système de sécurité n'a rien capté ensuite, l'homme se serait volatilisé. Reyes croit que c'est un X-Files et que Fassl avait une connection, mais Doggett lui dit que ce n'en est pas un. REyes dit que l'homme a protégé Fassl. Scully fait part de ses découvertes. Les cheveux qui ont été trouvés sur les lieux du crime n'était pas là le jour où les meurtres ont été faits. Elle est sûre que le coup a été monté contre Fassl.

Kaylor se rend chez Fassl. Kaylor demande à voir l'avocate, mais elle n'est pas là. Fassl lui demande de le renvoyer en prison. Kaylor ne veut pas le ramener. Fassl le regarde droit dans les yeux et tout d'un coup, Kaylor se met à saigner, il est mort. Le corps tombe par terre et on voit que c'est l'homme aux cheveux longs qui l'a tué. Fassl se met à pleurer.

ACTE 4
Doggett est avec Duke. Il admet avoir mis des cheveux d'un meurtre différent sur les lieux du crime. Doggett est découragé. Duke savait qu'il était coupable. Maintenant, il se met en colère parce qu'il doit demander à Scully de mentir. Doggett trouve que c'est une traitrise de sa part. Il ajoute : «Tu me fends le coeur». Scully vient les déranger et dit à Doggett que Kaylor a disparu. Fassl est entrain de dissumuler le corps de Kaylor.

Reyes interroge l'avocate sous les yeux de Doggett et Scully. L'avocate dit que Fassl n'a aucun lien avec la disparition de Kaylor. Reyes montre à Fassl le suspect. Il est tout à coup effrayé et il prend sa croix dans ses mains. Scully regarde tous ses agissements. Elle tend la photo vers lui, elle lui demande de parler de cet homme comme cela, il va être libérer de ses problèmes. L'avocate met fin à l'entrevue. Fassl s'en va. Reyes pense que Fassl a atteint de la double personnalité que ça le transforme mentalement et physiquement. Elle pense que puisque Fassl ne confronte pas son propre pêché, il devient un autre homme.

Fassl est chez lui et sur le mur, il est écrit «Tue la». L'homme aux cheveux longs apparaît. Fassl ne veut pas la tuer. Les deux hommes se battent. L'avocate entre et trouve Fassl allongé sur le sol. Il dit qu'il est tombé. Il ouvre la pharmacie pour soigner Fassl, elle voit son reflet dans le miroir, quand elle le referme, ce n'est plus FAssl qu'elle trouve, mais l'homme au cheveux longs.

ACTE 5
Reyes et Doggett surveillent la maison de l'avocate. Il ne croit pas la théorie de Reyes. Ils voient l'homme aux cheveux longs sortir de la maison. Reyes vient pour entrer dans la maison et se trouve face à face avec l'avocate. Elle lui dit qu'elle a vu l'homme sur la photo. Elle ne sait pas où est Fassl. Doggett appelle Reyes. Avant, elle demande à l'avocate d'appeller la police. Reyes rejoint Doggett, il a trouvé une pierre qui est inscrit «Accès du câble» dessus. Doggett lui révèle que Fassl a travaillé pour le câble. Doggett soulève la pierre. Il y a un escalier qui rend à une cave. Ils trouvent du sang. Reyes regarde d'un côté du passage et quand elle se tourne, elle fait face à l'homme aux cheveux longs. Il l'attaque et se sauve. Doggett lui tire dessus, mais sans succès. Il lève Reyes et ils continuent.

Un chemin se sépare en deux, Reyes et Doggett prennent chacun leur côté. Reyes met le pied sur une grille qui cède sous son poid. Elle tombe dans l'eau. Lorsqu'elle vient pour remonter, elle trouve des corps. Doggett descend près de l'eau aussi. Elle crie le nom de Doggett. Il l'entend. Il prend son arme et il est attaqué par derrière. Son arme tombe à l'eau. L'homme le menace avec un couteau.

Reyes approche et demande à l'homme de laisser Doggett. Reyes essaie de parler à Fassl et non à son autre personnalité. Elle essaie d'établir une liaison de confiance. Il demande à Reyes de se taire. Doggett se défait de son emprise et Reyes en profite pour tuer l'homme aux cheveux longs. Il tombe à l'eau. Doggett prend le corps. Ce n'est plus l'homme aux cheveux longs, mais Fassl.

Scully regarde le corps de Dowdy. Des policiers sont dans la cave. L'avocate est présente. Scully lui demande qu'il y a beaucoup de corps dans cette cave. Elle est sûre d'avoir vu l'homme aux cheveux longs. Scully demande à l'avocate d'entrer chez elle, elle sourit ensuite à Doggett. Il dit à Reyes de ne pas lui demander comment il explique ce phénomène. Elle lui demande alors de lui raconter ce qui vient de se produire. Doggett n'accepte pas que Fassl soit devenu un autre homme. Reyes lui répète qu'il a fermé l'enquête et que cela suffit, mais Doggett se demande ce qui se passera la prochaine fois.

UNDERNEATH

 

SCENE 1
BROOKLYN, NEW YORK
THIRTEEN YEARS AGO

(Night. It's pouring with rain. A white van pulls up to a house. The company name on the van is "Triboro Cable". A man, BOB, turns off the ignition and take s a crucifix hanging from the rear view mirror. He kisses it.)

(A voice from the back of the van cuts through the rain.)

BEARDED MAN: Get going.

(BOB looks anxious.)

BOB: Please ...

BEARDED MAN: Do your damn job.

(BOB reaches over to the passenger seat and picks up his toolbox. He opens the van door and gets out.)



SCENE 2

(In the house, a woman, JANET, is on the phone in the kitchen.)

JANET: You can't think Milli Vanilli is cool. I would disown you. (JANET'S mum walks into the kitchen, having to move under the phone cord.) You are unbelievable. Okay, I may puke, but I have to ask. Which one do you intend to marry? Rob or Fab?

(The doorbell rings.)

MOTHER: Janet, get that.

JANET: (To the person on the phone.) Hang on. I'm like the servant around here.

JANET: Yeah?

(JANET opens the door and we see BOB standing in the porch.)

BOB: Triboro Cable.

JANET: What do you want?

BOB: Your cable's out.

JANET: Is it? I don't think so.

BOB: Okay, I'm sorry.

(BOB turns to leave.)

JANET: Wait a sec. Maybe my dad called you. You'd better... come in.

(BOB turns back and enters the house.)

JANET: The TV's in here. (calling upstairs to her father) Dad? Cable guy's here.

(BOB walks into the living room and starts looking at the TV. JANET'S DAD appears in the doorway.)

DAD: Can I help you?

BOB: There's a problem with your cable?

DAD: I was just watchin' the game upstairs. I think you got the wrong house, buddy.

DAD: Is... that your work order? Who called it in?

(Suddenly, blood splatters all over the papers BOB is holding. He looks back up and JANET'S DAD is not in view. BOB looks around the room and suddenly see him lying on the floor in a pool of blood, his throat cut. BOB slowly walks into the kitchen, and finds JANET and her MUM lying on the floor, also in large pools of blood. He looks shocked.)

(There's a knock at the door. The front door opens and an NYPD cop enters, gun drawn.)

DUKE: Police! Don't move! Oh God, almighty. Face the wall. Face the wall! Johnny, check the other rooms!

(Another cop enters the house and checks the kitchen. We see it's DOGGETT, in his former NYPD guise.)

DOGGETT: They're all dead!

DOGGETT: Got you. Got you, you bastard.


OPENING CREDITS



SCENE 3

(Day. FBI Building corridor. The lift opens and REYES walks toward the X-Files office, hearing DOGGETT screaming to someone on the phone.)

DOGGETT: D-O-G-G-E-T-T. Two "G's" and two "T's". I was the arresting officer. You're makin' 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: An X-File?

(DOGGETT hands REYES a newspaper clipping, with the headline "DNA Clears Screwdriver Killer", the subheader is "Innocent Man Jailed Thirteen Years". There is also a face shot of BOB.)

DOGGETT: (into phone) I'm tellin' you, you let this guy go, more people are gonna die.

(DOGGETT hangs up the phone.)

REYES: Was that the D.A. on the case?

DOGGETT: Assistant D.A. Some jack-off who was probably in ninth grade when this happened.

REYES: What is it exactly you want 'em 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 thirteen 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. Simple as that. My partner, Duke and I, we catch this nine-one-one. Neighbours hearing screaming coming from this house on Flatbush Avenue. We get there. Teenage girl, mother, father, all dead. There's blood... (beat) 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.

(SCULLY enters the office holding a report.)

DOGGETT: (to SCULLY) Tell me you've got good news.

SCULLY: I have combed through every detail of this M.E.'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 tellin' 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 don't... (sigh) It'd take at least 48 hours.

DOGGETT: That's too long.

(DOGGETT starts to put on his jacket.)

REYES: Where are you going?

DOGGETT: New York. I can't just sit here and wait for this guy to kill again.

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.



SCENE 4
SING SING CORRECTIONAL FACILITY
OSSINING, NEW YORK

(The camera pans along a line of cells. It stops when it gets to BOB FASSL'S.)

GUARD: It's time to go.

(The cell door slowly slides open.)

(We see a close up of his Inmate Property Sheet - "ROBERT M FASSL", detailing what he had when he entered prison. We see he had a Rosary, an employee ID and a set of keys.)

GUARD: Congratulations, Bob. Best of luck to you..

(BOB looks in his box of possessions. He picks up the Rosary and kisses it.)



SCENE 5
KINGS COUNTY COURTHOUSE
BROOKLYN, NEW YORK

(Bright light greets BOB as he steps into the daylight.)

REPORTER #1: How does it feel to be a free man?

REPORTER #2: What are doing in New York? Are you gonna sue the police?

REPORTER #1: What do you think you'll do next?

JANA: I think 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 D.A.'s office, and the New York City Police Department.

(BOB stares across the street. His perception of movement speeds up. A bearded man wearing dark clothes appears on the other side of the street. BOB is breathing heavily.)

JANA: Bob? Let's get you out of here. (to reporters) Thank you.

(BOB looks again but the figure is gone.)

REPORTERS: (walla) How do you feel?

JANA: Thank you.

REPORTERS: (walla) Did you ever feel like givin' up, Bob? Bob?

JANA: Thank you.



SCENE 6

(Government building. DOGGETT and SCULLY are walking down a corridor with the Assistant D.A., KAILER.)

DOGGETT: Wait a minute. On top of springin' loose a murderer, you're tellin' me the city of New York is gonna pay him off?

KAILER: 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. Kailer, 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.

KAILER: 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 gonna start askin' who. How you gonna answer 'em?

(KAILER stands silent.)



SCENE 7

(DOGGETT and SCULLY are in a large conference room, a long table standing in the centre. Two dozen evidence boxes are stacked on it.)

SCULLY: There's a lot of material here. Where should we start?

DOGGETT: Right there. The original arrest report.

SCULLY: "Arresting Officer John Doggett." Must have 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...

SCULLY: You know, John? (Pause.) Whatever we find here, sometimes... sometimes even good cops make mistakes.

(DOGGETT looks offended.)

DOGGETT: Yeah. And I've made more than I can count. But this wasn't one of 'em. Whatever you think, I'm not here tryin' 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? 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 clockin' out.

(DOGGETT goes back to looking through the evidence. SCULLY considers his statement.)



SCENE 8
FAIN RESIDENCE
LITTLE NECK, NEW YORK

(JANA'S house is a large, expensive residence in period design. JANA and BOB enter.)

JANA: Bob, I just want you to make yourself at home while you're here. Just relax. 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.

JANA: (beat) Uh, thank you very much, Mrs. Dowdy.

(BOB can't help looking around the hallway.)

BOB: You're rich.

JANA: Well, my parents were. I inherited this when they died. I've been very fortunate, so I try and use my family's resources to help where I can.

(BOB follows JANA upstairs.)

BOB: You do good things. You're a good person.

JANA: I guess it takes one to know one. I know some business people who are sympathetic to your situation, and when you're ready, we'll set up some job interviews.

(BOB enters his room and sits on the end of the bed. He takes out his Rosary and holds it in his hands.)

JANA: (beat) 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.

(After a pause, JANA turns and looks the bedroom, closing the door. BOB starts praying. He clenches his hands together together around the Rosary, opening them to discover blood on his palms.)

(Daubed on the wall in blood, still dripping down the wall, are the words "KiLL Her".)



SCENE 9
KINGS COUNTY COURTHOUSE
5:35 PM

(We see an older car pull into a space. An older, balding man gets out.)

DOGGETT: Hey, buddy! You steal that car?

DUKE: (laughs) If it ain't the FBI!

DOGGETT: Duke Tomasick. Lookin' good.

DUKE: (laugh) Well, hell yeah. I was always the pretty one. (laughs)

DOGGETT: Not that I'd steal you away from even one minute of retirement, but I gotta get another viewpoint on this case from someone who was there that night. Duke, I'm rackin' my brain on this thing, and I'm comin' at it from every possible angle. Was there somethin' we missed?

DUKE: Well yeah, we arrested the wrong man. Ah, I'm sorry, John. I've been torn up about this since I read it in the paper. But unless there's somethin' that you know that I don't? Then it looks like, uh, we're just gonna have to face facts.

DOGGETT: Duke, you were there that night. Fassl was the only one in the house. He killed those people.

DUKE: John, wise up, will ya? Drop this thing.

DOGGETT: What did you always tell me about bein' a good cop? You said never to clock out.

DUKE: I got another lesson for ya. Keep after this thing, it's gonna bite you in your ass.



SCENE 10
10:12 PM

(BOB is resting against the end of his bed, praying. JANA opens the door and stands in the doorway. BOB notices her.)

JANA: I'm sorry. I just wanted to see how you were settling in, and... I should have knocked. I read in your file that you had once attended the seminary, that you studied to be a priest? I think it's wonderful that all you've been through hasn't diminished your faith.

BOB: I pray all the time. I pray even when it looks like I'm not praying.

JANA: I know someone's listening, Bob. Goodnight.

(JANA closes the door as she leaves. BOB turns around, and the BEARDED MAN is standing in the room with him.)

BOB: No. Don't. Please don't hurt her. Please!

(The BEARDED MAN smacks BOB around the head. BOB holds his mouth in pain. The BEARDED MAN then takes out a sharp weapon, much like that used to kill the ALIEN BOUNTY HUNTER. The BEARDED MAN purposely walks over to the door and leaves the room, as BOB drops to his knees and starts to pray.)



SCENE 11

(Morning. Conference room. DOGGETT has the papers and photos spread all over the table. SCULLY enters.)

SCULLY: Were you here all night?

DOGGETT: There's gotta be somethin' here the prosecution overlooked, I overlooked. Somethin' I can hang this guy with, DNA or no.

SCULLY: Speaking of DNA.

DOGGETT: Ah, 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: John, there is something else. Something that explains why 13 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. And you know that what you're sayin's impossible.

SCULLY: And yet, somehow it's true.

(DOGGETT begins to consider this new development.)



SCENE 12

(Morning. BOB is asleep on the floor in his room. A shadow passes over his face and he wakes up.)

JANA: Would you get dressed and come on downstairs, please?

(BOB looks surprised to see her.)

JANA: Bob? This morning I noticed something that I have to talk to you about. The dresser drawers in my bedroom had been opened and somebody had been through my things.

BOB: You weren't home last night?

JANA: 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. (Heavy sigh) I am late for a deposition. Help yourself to breakfast. Mrs. Dowdy seems to be running late this morning.

(Hearing this, BOB looks fearful. He looks over to the kitchen cupboard.)

(Later. BOB has changes clothes and puts a large piece of clear polythene on the floor. He places MRS DOWDY'S body onto the polythene. He then starts to mop out one of the large cupboards, which is full of blood. He goes to a kitchen drawer full of knives and takes out a meat cleaver. He stares at the large blade reflecting in the sunlight. He walks over to the body on the floor. Out of sight, we hear him strike blows with the cleaver.)



SCENE 13
SING SING CORRECTIONAL FACILITY
OSSINING, NEW YORK

(REYES is walking through the prison, its grated door opening as she proceeds. A man approaches her.)

HUTCHINSON: Agent Reyes. I'm Brian Hutchinson, Superintendent.

REYES: I appreciate you seeing me on such short notice.

HUTCHINSON: Anything I can do to help.

REYES: Great. I'm reviewing evidence pertinent to the Fassl case.

HUTCHINSON: Whatever I can do to ensure he gets locked back up again. By all means, tell me what you need.

REYES: Thank you. That's an extremely helpful attitude. What's your reason for it?

HUTCHINSON: I just don't think the system should've let him go.

REYES: Why, exactly? The court says he's innocent.

HUTCHINSON: Maybe. But there's another murder they don't know about.

(REYES and HUTCHINSON are now in a room. HUTCHINSON continues.)

HUTCHINSON: Bob Fassl's cellmate ... was a biker named Spud Jennings, a real bad ass. Or at least he thought he was.

REYES: Jennings was murdered?

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: And Fassl killed him?

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 hand.

(HUTCHINSON hands a folder to REYES, who studies the picture. We see the man caught on camera is the BEAERDED MAN. The time on the photo is 21:17:04.)

REYES: One problem. This isn't Fassl.

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.

(REYES looks intrigued.)



SCENE 14

(Later in the conference room. KAILER is standing in the doorway.)

KAILER: Agent Doggett? A word, please?

(DOGGETT and KAILER step into the corridor.)

KAILER: Don't you have something to tell me, Agent Doggett?

DOGGETT: What do you mean?

KAILER: The DNA retests. 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.

KAILER: Look, I just spoke to the D.A. He's authorized a settlement offer, which I intend to deliver to Mr. Fassl's counsel, post haste. I'll send the bailiffs down to retrieve the case files. Have a nice flight back to D.C.

DOGGETT: We need more time to get to the truth!

KAILER: 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.

(DOGGETT stands in the corridor as KAILER walks off. REYES appears further up the corridor and walks to DOGGETT.)

REYES: John. I may have a break in this case. A suspect.

DOGGETT: A suspect? Not Fassl?

REYES: You really need to see this.

(In the conference room, DOGGETT is looking at the picture of the BEARDED MAN.)

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? (SCULLY looks up from the table.) 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 sakes, 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? 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. 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 gonna work. The 1989 evidence has to be thrown out.

DOGGETT: What are you talkin' about?

(SCULLY looks dejected as she talks.)

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.

(DOGGETT looks stunned.)



SCENE 15

(BOB opens the door to KAILER at JANA's house.)

KAILER: Fassl? I'm Damon Kailer.

KAYLOR: I need to speak with your attorney. Is she here?

BOB: You were at my hearing.

KAILER: I'm the Assistant District Attorney. Is... Jana home?

BOB: She's not here.

KAILER: Mr. Fassl, I came to make a settlement offer on your case. There's no reason to be upset. This is good news for you. Tell her to call me. We'll work it out.

BOB: I want to go back.

KAILER: I'm sorry?

BOB: Please send me back to prison.

KAILER: Oh listen, Mr. Fassl, I shouldn't even be discussing this with you without your attorney present.

BOB: But it's my fault.

KAILER: I-I... I can't be hearing this.

BOB: It's the truth.

KAILER: That's not my concern.

(BOB stares at KAILER, who is motionless. Suddenly, blood starts pouring from his mouth. He falls to the floor, revealing the BEARDED MAN standing behind him with the pointed weapon. BOB drops to his knees, checking KAILER who is now dead, lying in a large pool of blood.)



SCENE 16

(Conference room. DUKE is checking a NYPD Property Log.)

DUKE: I'm sorry, John.

DOGGETT: You framed Fassl.

(DUKE starts to try and explain his actions.)

DUKE: You saw how it was goin' down. we arrested him at the scene. But he... he left no prints, no hair, no fibre. Nothin' to actually tie him to the murders.

DOGGETT: How did you do it?

DUKE: I took, uh, part of a hair sample that was found at a... at a previous murder, and put it in with the evidence from our crime scene.

DUKE: Johnny, it was the one and only time I ever did anything like that. I was scared Fassl would walk, and... and I couldn't let that happen. Not when I knew that... that he was guilty. Oh, God almighty.

DOGGETT: You know this is gonna come out. No one's gonna hear it from me, but... but I can't put Agent Scully on the spot. I can't ask her to lie.

DUKE: I don't want you to.

DOGGETT: Duke, you son of a bitch! This is a (shouting) felony!! I don't know how I can forgive you for this! You break my heart.

(SCULLY enters the room.)

SCULLY: Excuse me. Agent Doggett? A.D.A. Kailer. I assume you haven't seen him?

DOGGETT: No. Why?

SCULLY: Apparently nobody has.



SCENE 17

(BOB is in a sewer, disposing of the body of KAILER. As her finishes up, he walks past a skull, lying on the floor.)



SCENE 18

(REYES, SCULLY, BOB and JANA are sitting in a comfortable room around a large table. DOGGETT is watching through a window. )

REYES: Mr. Fassl, when was the last time you saw Damon Kailer?

JANA: Two days ago at his release hearing. My client had nothing to do with Mr. Kailer's disappearance.

REYES: No direct involvement?

JANA: None.

REYES: I think we can accept that. We're also prepared to accept that Mr. Fassl had no direct involvement in the seven murders he was previously convicted of.

JANA: How magnanimous of you. It's too bad you're thirteen years too late. Is that it?

REYES: No. Actually, we believe this person committed the murders.

REYES: What do you think? Do you recognize this man?

JANA: We're here as a courtesy. Which is something the police and the prosecution never showed Bob once.

(SCULLY notices BOB holding his Rosary.)

SCULLY: Are you a Catholic, Bob? 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 passes the photo to BOB.)

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 looks panicked and very scared.)

JANA: No more mind games. We're done.

(JANA and BOB get up and leave.)

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: Nope. Just Fassl. 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: Well 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 thirteen 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, that he is forced to become someone else? (Pause) A killer.

DOGGETT: So how does someone go about catching a killer who hides inside an innocent man?



SCENE 19

(Night. BOB is in the bathroom, splashing water on his face. He looks up in the bathroom mirror over the taps and reels back. Written on the wall behind him in blood are the words "KiLL Her". BOB turns around, and the BEARDED MAN is standing only feet away from him.)

BEARDED MAN: Do it!

(The BEARDED MAN strikes out at BOB again.)

BOB: I don't want to hurt her!

(The BEARDED MAN then pushes BOB face first into the basin, and he cracks his head on the corner, falling to the floor.)

JANA: (Outside the door) Bob, are you okay?

BEARDED MAN: (Standing over BOB) Kill her.

(JANA enters, finding BOB on the floor.)

JANA: Oh, my god. What happened?

BOB: I, uh... I-I fell.

JANA: I'll fix you up. You'll be okay.

(JANA goes to the bathroom cabinet. We see BOB'S reflection in the mirror. She opens the door and takes some cotton wool and disinfectant from the shelf. When she closes the door, BOB'S reflection is gone. The BEARDED MAN is standing in his place. JANA is shocked.)



SCENE 20

(Night. Outside JANA's house. DOGGETT'S CAR.)

REYES: I'll take the next couple of hours. You should get some shut-eye. 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 or this... Charlie Manson sidekick.

REYES: They're one and the same person.

DOGGETT: Monica, I don't want to hear...

REYES: 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? (Pause) Meat and potatoes police work is what busted this guy thirteen years ago. And it's what's gonna bust him again. And that's enough. And the day that's not enough? Then I don't know what to tell ya. 'Cause I got nothin' else.

(The BEARDED MAN appears at the front door, and runs off into the grounds.)

DOGGETT: Check it out, the front door.

(DOGGETT and REYES race from the car to the front door.)

DOGGETT: Jana Fain! Check on her!

(DOGGETT runs after the BEARDED MAN.)

JANA: Oh my god, he was here! He was here, the man in your photo!

REYES: The Bearded Man. Where's Bob Fassl?

JANA: Oh, he-he was right there, and then he wasn't. I don't... I don't know where.

(DOGGETT calls out.)

DOGGETT: Agent Reyes!!

REYES: Call the police!

(REYES runs over to DOGGETT.)

DOGGETT: Agent Reyes!

(DOGGETT is kneeling down in front of a metal cover in the ground, marked "CABLE ACCESS".)

DOGGETT: Cable access. Fassl worked for Triboro Cable.

(DOGGETT and REYES open the cover and climb down a steel ladder into the sewer below.)

DOGGETT: The trail ends here.

REYES: Blood. He could've gone either way.

(The BEARDED MAN suddenly appears and knocks REYES to the ground. He runs of into the sewer. DOGGETT fires 4 shots after him before helping REYES to her feet.)

DOGGETT: You okay?

DOGGETT: Come on.

(They head off in search of the BEARDED MAN.)

REYES: I'll take this way.

(They split up. DOGGETT explores further into the sewer. He discovers a grille on the floor. REYES searches another part of the sewer. She walks across the ground, when suddenly it gives way and she falls several feet into the water below. She shines her torch back up towards the hole. She makes her way to the side of the sewer and climbs out. She notices a bloody body against the side of the sewer.)

(Meanwhile, DOGGETT is climbing down another ladder and explores deeper into the sewer.)

(REYES shouts out to DOGGETT.)

REYES John!

DOGGETTMonica!

(DOGGETT draws his gun. Suddenly, the BEARDED MAN appears and stabs DOGGETT in the shoulder. DOGGETT's gun falls from his hand into the water. REYES now has her gun drawn and is slowly moving towards DOGGETT'S location. She reaches DOGGETT, who is being held hostage by the BEARDED MAN, who has his weapon across DOGGETT'S throat.)

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.

BEARDED MAN: I'll kill him!!

(He tenses his body. The weapon resting dangerously close on DOGGETT'S throat.)

REYES: I believe you, Bob. Because you're a murderer.

BEARDED MAN: Shut up!! I'm not him.

REYES: You're not just a murderer, you're a sinner!

BEARDED MAN: Shut up!! Shut up!! Shut up!!

(DOGGETT manager to get away from the BEARDED MAN, BOB'S alter ego, and REYES fires at him, hitting him in the chest. He stands motionless in pain, before falling into the water. DOGGETT'S climbs in and drags the body to the surface. He turns it over. It is BOB. DOGGETT looks at REYES in bewilderment.)



SCENE 21

(Outside in the garden, SCULLY is examining the decapitated remains of a body. There are several police officers in the sewer collecting evidence. JANA is also standing in the sewer as SCULLY enters.)

JANA: My housekeeper, Mrs. Dowdy, can I see her?

SCULLY: It's better that you don't.

JANA: And the District Attorney?

SCULLY: There are a lot of bodies in there.

(JANA starts to cry.)

SCULLY: There are many more victims than anyone ever knew.

JANA: I saw a Bearded Man. I know what I saw.

SCULLY: Ms. Fain, I think we'd better get you home.

(SCULLY takes JANA back to the house. DOGGETT and REYES are still standing in the sewer as BOB FASSL'S body is stretchered away. DOGGETT looks shattered.)

REYES: John ...

DOGGETT: I've been 48 hours without sleep. I found out my ex-partner's a liar, a felon. (Shaking his head) Don't ask me to explain how this could be.

REYES: So what happened tonight, that was just you seeing things?

DOGGETT: I can't accept this. If you can, God love ya, 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?

(DOGGETT and REYES stare into the water.)

[THE END]


Kikavu ?

Au total, 12 membres ont visionné cet épisode ! Ci-dessous les derniers à l'avoir vu...

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HypnoChat

stanary (14:31)

Oui par contre je fais bien des études t'inquiète pas

Sonmi451 (14:31)

Alors c'est tu bosses mais c'est pas rémunéré.

Sonmi451 (14:32)

et donc des études de quoi? ^^

stanary (14:32)

Oui j'avais pas vu ça comme ça mais t'as raison.... c'est nul !

Sonmi451 (14:33)

j'ai toujours raison même quand j'ai tord

stanary (14:37)

Oui c'est bien d'espérer...

stanary (14:37)

Sonmi451 (14:38)

Merci. lol

Sonmi451 (14:38)

L'espoir fait vivre comme on dit. ^^

stanary (14:39)

Oui c'est ce qu'on dit ! Alors et toi dis moi tu travailles dans quoi ?

Sonmi451 (14:41)

Moi je suis assistante maternelle mais en ce moment en congé parental.

stanary (14:43)

Ah bah alors ça va veut dire que t'aimes beaucoup les enfants hein ! Mais j'aime bien ça ...

Sonmi451 (14:44)

Tout à fait.

stanary (14:45)

Alors dis moi, tu fais quoi de beau ?

Sonmi451 (14:47)

Là en ce moment, je m'occupe de la migration des épisodes de Friends pendant que mes oreilles sont en train d'écouter si bébé dort toujours. Et puis mes yeux regardent de temps en temps, vers la fenetre pour voir si le grand arrive avec son papa. ^^

Sonmi451 (14:47)

Et toi?

stanary (14:49)

La migration ?
Bon pour moi faut pas chercher hein. Je n'ai pas de vie donc je suis chez moi entrain de ne rien faire si ce n'est lire

Sonmi451 (14:49)

Et en parlant du loup, il sort du bois. Mon grand vient d'arriver.

stanary (14:51)

Eh bah il est autonome ce grand !

Sonmi451 (14:51)

La migration c'est le passage d'un guide épisode à un autre guide, soit de l'ancien au nouveau.

Sonmi451 (14:52)

Je vais devoir te laisser. Il est autonome oui d'une certaine façon, mais il a encore "que" 5 ans.

Sonmi451 (14:52)

A bientôt peut être.

stanary (14:56)

A bientôt

billy (18:53)

Plus que quelques jours pour venir participer au concours de la photo de bienvenue du quartier Castle. Venez vous affronter avec les plus créatifs ^^

CastleBeck (19:15)

Billy : Je crois que ton message irait plutôt dans la room HypnoPromo maintenant
D'ailleurs, il faut que je me dépêche pour finir ma participation...

Chaudon (19:39)

Nouveau calendrier sur le quartier "Elementary" ! Donnez votre avis sur le quartier de la série !

Titepau04 (20:22)

Chaudon, tu t'es trompée de room !!!!

Titepau04 (20:23)

T'ai trompé*

Sonmi451 (22:00)

Hypnoroom promo pour les pubs allezzz, on y va vroouuuummmm

Titepau04 (22:01)

LOL!!!!

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