Story Code '#9X04'
by David Amann
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'Hellbound' Story Code '#9X04' by David Amann |
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SCENE 1 - FIRST CALVARY CHURCH, NOVI, VIRGINIA
TERRANCE PRUIT:
I always said there's three kinds of people in the world: Them who make things happen, them who watch things happen and them who wonder what happened. I made things happen. The wrong things. I caused pain to
anyone who came near me.
(He looks down at a tattoo of his - which reads 'Hellbound')
TERRANCE PRUIT:
This tattoo used to be my badge of honour. I'm a different man since I've joined this group. A better man. I never thought words like that would come out of my mouth. It's all because of the help and the love that I found in this room.
(We are in the back room of a church. A group is meeting, a few ex-convicts, and a female doctor who is holding the sessions. She is DOCTOR LISA HOLLAND. She looks at ED KELSO, who isn't really listening)
DOCTOR HOLLAND:
You're new here. Is it Ed?
ED KELSO:
Yeah, I'm new to this B.S.
DOCTOR HOLLAND:
Why do you think it's B.S.?
TERRANCE PRUIT:
I mean, listen, man, I turned my life around. A lot of us here have.
ED KELSO:
Our kind of lives go one way. You can't change any more than you can undo the crimes you've done.
TERRANCE PRUIT:
Well, I feel sorry for you, man.
ED KELSO:
Don't feel sorry. You going to hell just like I am, brother.
DOCTOR HOLLAND:
Why are you here, Ed?
ED KELSO:
I drove Victor. He knows I'm right.
DOCTOR HOLLAND:
Victor's been doing good.
ED KELSO:
Oh, yeah... just look at him.
(VICTOR is sitting next to ED KELSO. He's a nervous man who keeps is eyes averted downward. He lights up a cigarette)
DOCTOR HOLLAND:
Victor, you want to talk about it?
VICTOR DALE POTTS:
I've just been having bad dreams. Really bad dreams.
DOCTOR HOLLAND:
What kind of dreams?
VICTOR DALE POTTS:
Oh... seeing people skinned alive.
DOCTOR HOLLAND:
It's a hard road, Victor. It's a shock to the system: Changing the way we think taking charge of our lives. We're all afraid. And that fear preys on us night and day, brother. In our minds and in our dreams.
(VICTOR nods his head, never once looking at anyone. He goes back to smoking his cigarette)
SCENE 2 - LATER
(ED and VICTOR are talking after the session)
ED KELSO:
You ever get enough of that crap? ‘A shock to the system’ crap? ‘This fear preying on us night and day’ crap? Those boys in there are afraid of one thing: Themselves... their true nature. You know what I'm saying, Victor?
ED KELSO:
Sort of.
ED KELSO:
What do you mean, ‘sort of’? Don't tell me that bull does you any good. And don't tell me you feel any better about yourself coming here... that it makes these nightmares go away.
ED KELSO:
No... it don't.
(VICTOR looks across at ED and sees him skinned)
SCENE 3 - FBI TRAINING ACADEMY, QUANTICO, VIRGINIA, 1:47 AM
(REYES is looking at a file on VICTOR. It says he lives in Novi and was born in 1960. We can also see his arrest photos. DOGGETT comes down the hallway)
DOGGETT:
Hey.
REYES:
Hi. Thanks for coming. Sorry about the hour.
DOGGETT:
The way you sounded seemed like something that couldn't wait.
REYES:
No. I need another set of eyes on it. I called Scully in, too.
DOGGETT:
A little late to be looking for a sitter. What's so pressing?
(REYES hands him a file)
DOGGETT:
‘Victor Dale Potts’. Ex-con, three-time loser, career criminal.
REYES:
He was murdered five days ago. Scully's got the crime report.
DOGGETT:
I'm sorry, what am I missing?
REYES:
It's the way he was killed.
(REYES walks away. DOGGETT follows. They both enter the autopsy area where SCULLY’s waiting)
SCULLY:
Agent Doggett.
DOGGETT:
Agent Scully.
REYES:
I'd like him to see the body.
(SCULLY lifts the sheet to reveal Victor's skinned body and DOGGETT turns away)
DOGGETT:
Damn. I've seen a bunch of these when I was a cop. It's a favourite of some of the pan-Asian gangs.
REYES:
The difference is Victor Potts had a premonition of his death.
DOGGETT:
And?
SCULLY:
That was my question.
REYES:
What I'm saying is, this man was skinned alive just hours after describing it in exact detail.
DOGGETT:
Maybe he could describe it because maybe somebody threatened him.
REYES:
He said it came in a dream, or a vision according to the woman who last spoke to him.
DOGGETT:
Who's that?
REYES:
Doctor Lisa Holland. She's a therapist who runs an anger management group for ex-cons.
DOGGETT:
Lifelong criminal's bound to have some bad enemies. People capable of this very thing. I mean, unless there's something here that I'm just not seeing.
SCULLY:
Well, from what I could see from my visual exam the skin was removed with considerable skill by someone using a hunting-type knife. Arteries and veins were left intact so as to prolong the period that the victim would suffer.
DOGGETT:
Terrible way to die, for sure.
REYES:
I know.
(At REYES' whispered words, both DOGGETT and SCULLY turn to look at her)
SCULLY:
Is there anything else... Agent Reyes? Something special that brought this case to your attention as a possible X-File?
REYES:
No. I just know I need to solve this and I'd appreciate your help.
SCENE 4 - NOVI, VIRGINIA, 9:35 AM
(A car pulls up in front of the church. DOGGETT and REYES climb out and walk towards DETECTIVE VAN ALLEN)
VAN ALLEN:
(To DOGGETT) You Reyes?
DOGGETT:
I'm Doggett. She's Reyes.
REYES:
Detective Van Allen?
VAN ALLEN:
That's right.
REYES:
I appreciate your help on this.
VAN ALLEN:
What help is that?
REYES:
On this investigation.
VAN ALLEN:
There isn't a lot to investigate. I mean, Victor Potts wasn't exactly one of the FBI's ten most wanted.
DOGGETT:
I think she means your insight into the way he died, Detective.
VAN ALLEN:
Don't have any. But I'm sure you'd rather talk to somebody who actually gives a damn, right?
(VAN ALLEN leaves the agents and heads toward the church entrance)
DOGGETT:
Hate to say it but, he probably sums up most people's feelings.
(The two agents follow)
SCENE 5 - FIRST CALVARY CHURCH
(DOCTOR HOLLAND is speaking to DOGGETT and REYES)
DOCTOR HOLLAND:
It's hard for the Victor Pottses of the world. Nobody cares much about them in life or in death.
REYES:
Victor told the group a story about a dream he'd had.
DOCTOR HOLLAND:
These men are haunted by their pasts. That's why they're here.
REYES:
But this dream came true.
DOCTOR HOLLAND:
Sometimes the past they want to escape won't let them. There was a man: Ed. He drove Victor to group that night. He was all over Victor's case.
DOGGETT:
You think he could have killed him?
DOCTOR HOLLAND:
I try to help these men. Some have been violent, some still are. It's not my place to judge them.
DOGGETT:
Doctor Holland there's justice to be served here. You can't forget that.
DOCTOR HOLLAND:
I'm sure Agent Reyes won't let me. Probably won't let anybody.
(REYES stands and offers her hand to DOCTOR HOLLAND)
REYES:
Thank you for your help.
(REYES leaves the room. DOGGETT starts to follow, then pauses as something occurs to him)
DOGGETT:
She contacted you with this case?
DOCTOR HOLLAND:
I think the police would have given up on who murdered Victor Potts if it wasn't for her.
SCENE 6 - OUTSIDE
(REYES walks out of the church and heads toward the parked car. She is interrupted by DET. VAN ALLEN who is leaning against the church wall in the shadows.
VAN ALLEN:
You know something, Agent Reyes? You seem real familiar to me.
REYES:
Excuse me?
VAN ALLEN:
You ever visited Novi before?
REYES:
No, I never have.
(VAN ALLEN smiles and nods his head at her. He seems very pleased with himself as he watches REYES walk to her car)
SCENE 7 - MANERI MEAT PACKING PLANT, NOVI, VIRGINIA
(ED KELSO is skinning a pig. There are a whole lot of dead pigs waiting for him. TERRANCE enters and KELSO starts acting all defensive)
ED KELSO:
You eyeballing me? You got some kind of problem or something?
TERRANCE PRUIT:
Problem? Your friend is dead.
ED KELSO:
Yeah, I guess the good news is I get to move up the ladder here now.
TERRANCE PRUIT:
You know how it happened.
(Holding the knife out, ED KELSO walks around the work table toward PRUIT. PRUIT takes a step back)
ED KELSO:
Now, why don't you just back off.
TERRANCE PRUIT:
FBI wants to talk to me now because of the way he died. Going to want to talk to you, too.
ED KELSO:
I got nothing to tell nobody.
TERRANCE PRUIT:
You were messing with his head.
ED KELSO:
I'd watch what you go saying.
TERRANCE PRUIT:
Or what? You going to do me, too?
(A loud buzzer blares overhead. KELSO notes the signal to mark the end of his work day. He smiles at PRUIT, his knife still pointed at him)
ED KELSO:
I got a ride to catch.
(KELSO pockets the knife in the metal sheath he wears around his waist and walks away)
TERRANCE PRUIT:
Yeah, that's right; walk away. But just like you said you can't run from what you are.
(KELSO turns around)
ED KELSO:
Yeah, and I'll see you in hell.
(KELSO leaves and PRUITT walks opposite him, through the dead pigs. KELSO looks shocked as he sees a walking, skinned PRUITT. They leave the building and KELSO drives off. PRUIT stares at him, unsure what to do now)
SCENE 8 - FBI TRAINING ACADEMY, QUANTICO
(A cadet places a stack of folders on SCULLY's desk)
FBI CADET:
Here you go, Doctor Scully. Everything you ever wanted to know about skinning people but were afraid to ask. This is every case of removal of the human dermis I could find within the last dozen years.
SCULLY:
Most of these are post-mortem skinnings.
FBI CADET:
That's all I could find. And most of it's Asian gang-related like you mentioned.
SCULLY:
Wait a minute. What's this?
(SCULLY opens a file folder from Haywood County Sheriff Department - It's
for a John Doe who died in the '60s and whose picture looks very much like the body they viewed)
FBI CADET:
I'm sorry I probably shouldn't have included that one because it's pretty much ancient history.
SCULLY:
It's just... there's a pattern. There's a pattern... the way the skin's been stripped off. A match?
FBI CADET:
No, but how could it be? Did you notice a date?
SCULLY:
1960.
(SCULLY looks at it, questioning it)
SCENE 9 -PARADISE RETIREMENT COMMUNITY, COLUMBIA, MARYLAND
(SCULLY, carrying the folder, walks down a hallway to Room #109. We hear the television inside where they are talking about people whose souls survived in other forms. SCULLY knocks)
SCULLY:
Excuse me. Doctor Mueller? Doctor Bertram Mueller?
(The man turns around. SCULLY moves closer)
DOCTOR MUELLER:
Yes?
SCULLY:
My name is Dana Scully. I'm with the FBI. I want to ask you some questions about a John Doe you did an autopsy on in 1960.
DOCTOR MUELLER:
You honestly expect me to recall some case from way back when? I'm 84 years old.
SCULLY:
Sir, this particular victim was skinned alive.
(DOCTOR MUELLER is quiet as he stares at SCULLY. It's obvious that he remembers the case. Later, the two of them pore over the case)
DOCTOR MUELLER:
In all my days, I never saw anything as inhuman as this.
SCULLY:
Sir, I haven't located police records from the investigation. Was there ever a suspect who was charged or arrested in this case as far as you know?
DOCTOR MUELLER:
No suspects, no investigation for that matter.
SCULLY:
I don't understand.
DOCTOR MUELLER:
The victim was a John Doe - a nobody. Carl Hobart, the county sheriff, figured he was a drifter. Hobart said he didn't want to stir up the community.
SCULLY:
And no one called him on that?
DOCTOR MUELLER:
I tried... the sheriff had other things on his mind, I suppose.
SCULLY:
Why do you say that?
DOCTOR MUELLER:
Well, it wasn't long after that he put a bullet through his head. What are you thinking, doctor? This is some copycat murder 40-odd years later?
SCULLY:
If so, it's the most perfectly executed that I've ever seen. And why copy an obscure murder that nobody's ever even heard of?
DOCTOR MUELLER:
A string of murders.
SCULLY:
I'm sorry?
DOCTOR MUELLER:
I thought you knew. John Doe was only the first.
SCENE 10 - MEAT PACKING PLANT
(TERRANCE is alone cleaning and washing the blood down the drain. The lights go out)
TERRANCE PRUIT:
Hey, I'm working in here.
(TERRANCE makes his way to the switch and flips it. He hears footsteps in the building and sees a figure, but we don't see who. He pulls out his skinning knife to prepare for an attack)
TERRANCE PRUIT:
Is that you, Ed? Come see what I got for you.
(PRUIT hears footsteps in the distance and makes his way to the next room. He sees a hanging pig is swinging. He continues on, however, wanting to know who is in the plant)
TERRANCE PRUIT:
Tell you what. You best clear the hell out, whoever you are!
(He sees a figure run across the room through the hanging pigs and takes off in pursuit of the intruder)
TERRANCE PRUIT:
Hey!
(He reaches the spot where he saw the figure and finds nothing. Thinking that he might get a better glimpse of the person's feet, he slowly lowers himself to the floor. As he looks around, he sees nothing. Behind him the shadowy figure dressed in a worker's apron and wielding his own skinning knife makes his way around PRUIT's blind side. He knocks PRUIT out)
SCENE 11 - LATER
(TERRANCE is tied to the wrack where the pigs are hung. Someone is pulling him up. He regains consciousness and realises that he is about to be skinned)
TERRANCE PRUIT:
Oh, god! Oh, god, no! Let me go! Let me go!
(He screams in pain and blood runs down his face. It runs down the drain and we hear his screams as we go to commercial)
SCENE 12 - FIRST CALVARY CHURCH, NIGHT
(It is foggy as REYES gets out of her car and enters the church)
REYES:
Doctor Holland? Lisa?
(She walks further into the church. The church door behind her suddenly slams shut; its finality echoes throughout the empty church. REYES turns around)
REYES:
Doctor Holland?
(REYES makes her way back toward the closed door. She reaches the closed church door and opens it. A skinned figure stands outside. REYES wakes up. She's been dreaming. DOGGETT opens her bedroom door)
DOGGETT:
Monica?
(DOGGETT is standing by REYES' room door. He's in a white t-shirt and concerned)
DOGGETT:
What the hell are you dreaming about.
(REYES is still disoriented)
REYES:
Nothing. It was a nightmare. How did you know to come in here?
DOGGETT:
I was on the phone. I could hear you through the wall calling out.
(REYES glances at the clock. It reads 2:09 AM)
REYES:
Who were you on the phone to?
DOGGETT:
Doctor Lisa Holland. That anger-management group she runs, it's getting smaller.
(REYES gets out of bed)
SCENE 13 - MEAT PACKING PLANT, MORNING
(DETECTIVE VAN ALLEN is standing near the skinned body of TERRANCE, who is still upside down. REYES and DOGGETT are trying to get through the policemen)
VAN ALLEN:
It's okay. Let 'em through.
(He waves to DOGGETT and REYES)
REYES:
What happened to the lights?
VAN ALLEN:
Somebody cut 'em. Might want to watch your step. We got some blood on the floor. Not as much as you'd expect.
(He shows the agents the blood and the body. REYES recognises the body as the one she saw in her dream)
REYES:
Oh, my god!
(She turns to run outside for some air. DOGGETT tries to stops her; he is concerned for her)
DOGGETT:
Hey, you okay? Monica?
(REYES pushes past DOGGETT and goes outside, breathing frantically. SCULLY drives up and steps out)
SCULLY:
Agent Reyes, I got a call from Agent Doggett. He said there's another victim. Monica, you okay?
REYES:
I'm just catching my breath.
SCULLY:
Well, if you're up for it, I've got something to show you. Case files from crimes back in 1960.
REYES:
What are they?
SCULLY:
More skinned bodies... cut with the same precision as the body I examined.
SCENE 14 - MEAT PACKING PLANT
(DOGGETT is kneeling on the floor looking closely at the body still hanging from the ceiling. He's staring at PRUIT's skinned face trying to discern what's going on. He looks closer and closer and he finally notices something)
DOGGETT:
Can I see the light a second?
(DOGGETT moves in closer to the skinned man's face. Holding the flashlight in one hand, he lifts a gloved finger and pokes the man's cheek. The man moves. DOGGETT is horrified as he registers that PRUIT is not dead. Not yet)
DOGGETT:
Holy God, he's still alive! Somebody get in here and get him down! We need a medic in here! (To PRUIT) Can you hear me? Do you understand? Who did this to you? Do you know who did this to you?
(PRUIT tries to speak but no intelligible words come out. It could be interpreted as Ed if you want it to be)
SCENE 15 - ED KELSO'S HOMEM
(ED KELSO is desperately packing all his belongings while his girlfriend lies on the bed)
ROXANNE:
Are we going somewhere, baby?
ED KELSO:
You're not. Get out.
ROXANNE:
Eddie?
ED KELSO:
What'd I just say?!
ROXANNE:
But I'm not even dressed.
ED KELSO:
What else is new? Get out!
(ED KELSO tosses some clothes to ROXANNE. She angrily gets out of bed and gets dressed. She hurries past him and out the door)
ROXANNE:
Why are you such a jerk?
(She leaves and is grabbed by DOGGETT who is outside with other police including VAN ALLEN. He signals to her to be silent and she makes her way out. DOGGETT bursts through the door but can see no-one. He spots ED coming out of the bedroom)
DOGGETT:
FBI! Stop right there!
(KELSO runs. DOGGETT chases him out of the house and through the back yard. KELSO barely gets across the yard when DOGGETT tackles him)
DOGGETT:
What part of ‘stop right there’ did you not understand?
(With KELSO on the ground, DOGGETT handcuffs his hands behind him)
SCENE 16 - POLICE STATION
(REYES and DOGGETT meet DOCTOR HOLLAND as she exits KELSO's interrogation room. She is tired)
DOGGETT:
So, what? He's just waiting for his lawyer? That's what he's doing?
DOCTOR HOLLAND:
He's in a bad place. I've been there myself once or twice sitting right where he is now, not thinking you have a chance.
DOGGETT:
Yeah? You ever murdered two men?
DOCTOR HOLLAND:
He's four years out of prison holding down a job, showing up to work sober. Why do it? Kill a friend and a co-worker?
(REYES looks through the glass over at KELSO who seems more scared than anything)
DOGGETT:
You're the one that said he was a hothead, right? Why run if you're not guilty? Bag packed to hit the road... packed with knives?
REYES:
I don't think we're going to find the murder weapon on him.
DOGGETT:
What makes you say that?
REYES:
Because I think this man here is running from something else. I want to talk to him.
(REYES enters the interrogation room. KELSO watches her enter. REYES sits down)
REYES:
Hi. My name is Monica. I know what you're thinking, that I must be the good cop.
ED KELSO:
No such thing.
REYES:
You didn't do it, did you?
(Tears run down KELSO's face)
REYES:
Your friend, Victor, he said he had bad dreams seeing things. I think you're seeing them now.
ED KELSO:
How would you know?
REYES:
Maybe I see them, too.
(KELSO looks up at REYES. She meets his gaze, her own eyes filled with unshed tears. For a moment, she's connecting with KELSO. DOGGETT opens the door to interrupt the questioning)
DOGGETT:
Can I talk to you for a second?
(REYES walks about of the room)
DOGGETT:
You want to explain to me what you're doing in there Agent Reyes?
REYES:
I'm trying to make a connection.
DOGGETT:
Hell of a way to do it. I can see this guy's defence already. ‘Your Honour, I was having bad dreams... seeing things. Ask Agent Reyes, she's seeing 'em, too’. Something you're not telling me?
(REYES looks at DOGGETT and looks like she is about to expose her soul but VAN ALLEN enters)
VAN ALLEN:
You two about finished?
DOGGETT:
With what?
VAN ALLEN:
The suspect. He's not our man.
DOGGETT:
What are you talking about?
VAN ALLEN:
Girlfriend vouched for him. Said they were getting hammered down
at the bent oak from 6:00 till closing. Bartender confirms it.
(VAN ALLEN enters the room where KELSO is and tells KELSO the good news. DOGGETT watches KELSO. REYES looks at DOCTOR HOLLAND. They wait as KELSO exits the room)
DOGGETT:
I know where you live, partner.
DOCTOR HOLLAND:
You're always welcome at group.
(KELSO lifts his eyes hesitantly at DOCTOR HOLLAND and is shocked to see her skinless)
REYES:
Agent Reyes.
SCULLY:
I need you to come to Quantico right away, Monica.
REYES:
Why?
SCULLY:
I have something to show you.
SCENE 17 - AUTOPSY ROOM
(SCULLY is dressed in her scrubs in the autopsy bay looking down at something. When REYES enters the room, she looks up, but doesn't move from her position behind the skeletal remains)
REYES:
Agent Scully?
SCULLY:
Agent Reyes.
REYES:
What are these?
SCULLY:
I showed you files of men killed in 1960 skinned alive like the current victims. Well, I had two of those bodies exhumed looking for crossover forensic details.
REYES:
Are there any?
SCULLY:
Yes, there are cuts in the bone... on the tibias and on the shoulder girdles that matched the cutting pattern that I found on Victor Potts... using the exact same knife which left a signature pattern of grooves.
REYES:
Same knife, same killer that's what you're saying, right?
SCULLY:
Well, it's even weirder than that.
(Both women leave the autopsy bay area and enter SCULLY's office. On her desk are various open old file folders)
SCULLY:
I ran bios and backgrounds from the victims from 1960.
REYES:
They're both ex-convicts like the current victims?
SCULLY:
Mm-hmm. But look at the date that they died.
REYES:
March eighth, 1960. June twenty-first, 1960.
(SCULLY shows REYES the birthdates of the two current victims)
SCULLY:
Birth dates of Victor Potts and Terry Pruit. Potts and Pruit were born on the same dates that the previous victims died. You knew that we'd find something like this didn't you, Agent Reyes? How?
(REYES looks at SCULLY. She doesn't know)
SCENE 18 - OUTSIDE ED KELSO'S HOME
(DOGGETT stops outside ED KELSO's house. He glances over at the darkened house. Something doesn't feel right. The police surveillance he ordered for KELSO is nowhere to be seen. His cell phone rings interrupting his thoughts)
DOGGETT:
John Doggett.
REYES:
Where are you?
DOGGETT:
Sitting outside the suspect's house wondering where the surveillance is I ordered.
REYES:
I need a birth date on him.
DOGGETT:
Who?
REYES:
The suspect, Ed Kelso. It's important. He may be in danger.
DOGGETT:
He may be gone. I'll call you.
(DOGGETT hangs up and exits the car. He quickly and quietly makes his way to the house. He suspects that KELSO may have run while no one was looking. DOGGETT's on the cell phone)
DOGGETT:
Yeah, this is John Doggett. I need to speak with Detective Van Allen. I'll hang on. Just get him.
(DOGGETT knocks on KELSO's front door. There's no answer)
DOGGETT:
No, I'm still holding.
(DOGGETT breaks the door down and rushes inside where he finds ED KELSO's dead, skinned body)
SCENE 19 - ED KELSO'S HOME, LATER
(REYES, DOGGETT, VAN ALLEN and some police are outside)
DOGGETT:
I said this house was supposed to be under a twenty-four-hour watch.
VAN ALLEN:
Patrolman says he wasn't gone more than five minutes.
DOGGETT:
(Angry) You see that man in there? You think it takes five minutes to do that to somebody, detective?
VAN ALLEN:
(Uncaring) I don't know how long it takes, Agent Doggett. Only know you said watch him so he don't run.
(VAN ALLEN walks away. DOGGETT moves to continue to argument, but REYES stops him)
REYES:
Agent Doggett...
(DOGGETT sighs and turns his attention to REYES)
REYES:
I have something to tell you.
(The both turn back toward the house)
SCENE 20 - INSIDE ED KELSO'S HOME
(DOGGETT is studying REYES' files)
DOGGETT:
This thing with the birthdays is weird, no doubt about it. Looks to me like we're dealing with a real sick puppy here.
REYES:
I don't think so.
DOGGETT:
Choosing your victims because of their damn birth dates it's the very definition of a serial killer. I think we should get the boys from behavioural science out on this.
REYES:
No.
(DOGGETT stops at the finality in her voice)
REYES:
That's not what's happening here.
DOGGETT:
It's the only thing that makes sense.
REYES:
To you.
DOGGETT:
Okay, what do you think it is?
REYES:
He knew he was going to die. He had a premonition of his death. Just like the first victim did.
DOGGETT:
So how do you figure that?
REYES:
I'm involved in this some way. I have some kind of memory of it. It's all happened before and now it's happening again.
DOGGETT:
You mean that it's a copycat and you have some kind of recall.
REYES:
These men were born to die this way. The same way they died before.
DOGGETT:
The same way they died before?
REYES:
Not the men... but their souls. Their souls are murdered over and over again from one lifetime to the next. By someone who won't let them rest.
DOGGETT:
So how's this happening... their souls coming back? Reincarnation?
REYES:
It doesn't strike you that these men were all born on the dates of the previous victims' deaths?
DOGGETT:
Yeah, it strikes me. It strikes me that the killer is clever.
(REYES looks at ED's covered body)
REYES:
A rag is stuffed in his mouth. A dirty rag. Black with soot.
(DOGGETT takes a moment to let this information sink in. He has seen the body, but she hasn't)
REYES:
Coal dust... from a coal mine.
DOGGETT:
How the hell did you know that?
REYES:
I don't know.
SCENE 21 - FITZGERALD MINING COMPANY
(DOGGETT and REYES exit their car and head towards the old mines)
DOGGETT:
So what are we looking for?
REYES:
I don't know exactly. But if the old files are correct there's going to be a fourth victim.
(They separate the ply-boards blocking the old mine shed and peer inside. There is old metal furniture, cobwebs, dust and lots of junk)
DOGGETT:
It looks like housekeeping hasn't been here in awhile.
REYES:
You or me?
(REYES continues on)
REYES:
I'll check out the mine.
(REYES enters and finds a little notice-board with articles on it. The first is that of a skinned body, the second is of the suicide of Sheriff Carl Hobart. Meanwhile, DOGGETT finds an old skeleton leaning against the wall. REYES reads a third newspaper article of a fourth skinned body and then a fourth article on a lawman who disappeared after failing to catch killer - it appears it is a sheriff. DOGGETT has found the aforesaid sheriff it would appear with a bullet hole, a gun and a sheriff's badge. REYES discovers two more articles - a prospector slain in mining claim dispute and an article on acquitted murderers. The last thing she finds is of four men staring at a skinned body. She studies the photo carefully and then moves deeper into the mine and discovers the skin of the murdered men. First, the old murders and then the three of the 2002 victims including TERRANCE PRUITT, who we recognise by his tattoo of ‘Hellbound’. REYES hears a rustling noise and turns to see a man)
MAN:
You shouldn't have come here.
(REYES pulls out her gun at the shadowy figure beyond the plastic sheeting)
REYES:
I'm a federal agent. I'm armed.
(REYES slowly advances toward the shadowy figure. She makes her way through the plastic sheeting and advances toward the mouth of the mine. No one is there. She passes THE MAN without noticing him hiding in the shadows. He comes up behind her and holds a skinning knife to her neck)
MAN:
Let go of the gun now.
(REYES complies and drops her gun)
MAN:
You can't stop it. You never do.
(The MAN moves closer to her. His face clear in the light cast by the flashlight. It's VAN ALLEN)
VAN ALLEN:
You always fail. It's your lot.
SCENE 22 - MINES, LATER
(DOGGETT is inside the mine)
DOGGETT:
Agent Reyes. Monica!
(REYES is on the floor on her hands and knees. She's coughing, gasping for air. DOGGETT rushes to her side)
DOGGETT:
Agent Reyes. Are you hurt? Talk to me.
REYES:
He was here.
DOGGETT:
Who?
REYES:
Van Allen. He's who's killing these men.
DOGGETT:
Van Allen?
REYES:
He was skinned himself. Back in 1868 by four men in a mining dispute. His killers were never punished. Now he's born to keep avenging that injustice. Again and again.
DOGGETT:
Van Allen's the cop here.
REYES:
That's why these cases never get solved. Every time, four murders. Every time, four bodies. Then he takes his own life so he can just start it up all over again. There's still a fourth victim, and I think I know who it is.
(REYES stands up and heads out of the mine)
SCENE 23 - FIRST CALVARY CHURCH
(The group is leaving. DR HOLLAND's phone rings and she answers)
DOCTOR HOLLAND:
Lisa Holland.
REYES:
Doctor Holland, it's Monica Reyes. You've seen the visions, haven't
you? Just like the others in your group. Visions of people skinned alive. It's true, isn't it?
DOCTOR HOLLAND:
How did you know?
REYES:
Where are you now?
DOCTOR HOLLAND:
I'm just finishing a session.
(The last person closes the door behind him)
REYES:
Is there anybody with you?
DOCTOR HOLLAND:
No, they've all left. Why? What's this about?
REYES:
Get out of there. You're in danger. It's Detective Van Allen. He's coming after you.
(DOCTOR HOLLAND hears footsteps approaching the closed door. Through the opaque glass, she sees a male arm reaching for the doorknob)
REYES:
Doctor Holland? Doctor Holland.
(VAN ALLEN enters the church back room. He's looking for DOCTOR HOLLAND. A skinning knife in his hand)
VAN ALLEN:
Time's come! You're the last.
(VAN ALLEN cautiously makes his way through the back room and heads toward the back door. DOCTOR HOLLAND waits till he passes her and ducks into the back room to check it out before she makes her break out of the session room and into the church. VAN ALLEN hears her and quickly pursues her)
VAN ALLEN:
(Running after her) No use running. It always ends the same.
(DOCTOR HOLLAND runs clear through the church and out the door which slams shut behind her. VAN ALLEN reaches the door. He pulls it open and finds himself staring down the barrel of REYES' gun. DOCTOR HOLLAND in safe in DOGGETT's arms. VAN ALLEN hesitates for a moment before he moves toward REYES with his skinning knife. REYES fires. VAN ALLEN falls to the floor barely alive)
REYES:
Get the paramedics out here.
VAN ALLEN:
(Choking) You... always fail.
(REYES grabs VAN ALLEN'S shirt. She is disturbed by his words)
REYES:
You're not dying on me. Not until you tell me what you mean!
(DOGGETT grabs REYES and pulls her off of VAN ALLEN. REYES is upset. They're both staring at the man who has all the answers)
SCENE 24 - HOSPITAL
(REYES is watching VAN ALLEN lying in a hospital bed. DOGGETT approaches her but she continues watching VAN ALLEN)
DOGGETT:
Doc says it's going to be touch-and-go tonight... that we should go home. Go on, Monica. Go on home. There's nothing you're going to learn here now.
(REYES looks at DOGGETT)
REYES:
You still won't believe it, will you? My connection to this man.
DOGGETT:
However you did it... however you knew what you know what matters here is you saved a woman's life.
(He places a comforting hand on her shoulder and leaves. SCULLY approaches, with the photograph of the four men staring down at the body)
SCULLY:
He's trying. We all are. It's just a long way to go from this... (Holding the photograph) ...to this... (Indicating VAN ALLEN on life support beyond the glass window)
REYES:
Do you believe in second chances, Dana? A chance to correct the mistakes we make in our lives?
SCULLY:
You mean in a future life?
REYES:
That's what these people were trying to do. All the victims... trying to atone for their sins from what happened in that photo. Only this man wouldn't let them.
SCULLY:
And Lisa Holland? What about her?
REYES:
She was one of them. One of the men you see standing there.
SCULLY:
And you?
REYES:
Whoever I was, I failed. In 1868. In 1909. In 1960, I failed. I was always there, but I couldn't stop the killings. And he knew that. Just like he knows I'm here right now. He feels me - the way I felt him when I saw that picture of the first victim. And somehow he knows my deepest fear that I'll fail.
SCULLY:
Well, maybe in this life you succeed.
REYES:
Maybe.
(REYES does not look convinced. She turns as the ICU monitor flatlines and watches as VAN ALLEN dies. Somewhere else, a newborn baby's cries fill the hospital...)
[THE END]
Gillian Anderson (Special Agent Dana Scully), Robert Patrick (Special Agent John Doggett), Mitch Pileggi (A.D Skinner), Annabeth Gish (Special Agent Monica Reyes),
Katy Boyer (Doctor Lisa Holland), Robert Beckwith (FBI Cadet), David Figioli (Victor Potts), James McDonnell (Detective Van Allen), Cyrill O'Reilly (Ed Kelso), Don Swayze (Terrance Pruit), George D Wallace (Doctor Bertram Mueller), Kari Whitman (Roxanne)
Directed by Kim Manners
TX:
US TX - 27th January 2002
Notes:
*Featuring Special Special Agent Dana Scully, Special Agent John Doggett and Special Agent Monica Reyes
*During the credits sequence there is a flash-frame of a document containing the names of many online X-Philes and some anagrams of ‘X-Files’ characters (e.g. ‘Deform Lux’ is Fox Mulder) under the heading ‘FBI Contacts, Witnesses and Contributors’:
*The dog ‘Happy’ - named after Gillian Anderson's dog
*Doctor Sackheim - named after the X-Files producer/director