'I don't think it's where he lives. It's where he hibernates.'
This third instalment was the first not to be written by the show's creator. Penned by Glen Morgan & James Wong, who would go on to produce the highly original 'Final Destination' for the silver screen, this represents the first in a series of episodes they would create, providing some of the most memorable moments of this cult series. A welcome break from the previous mythology-dominated episodes, Chris Carter, was aware that the show's longevity would benefit from occasional diversions away from UFO investigations. Called in by one of Sculley's ambitious Academy classmates, Agent Tom Colton, stumped by a series of inexplicable murders in Baltimore, Mulder and Sculley's quarry here is a serial killer, whose signature is to rip out the victim's liver with his bare hands. In addition, the murderer appears to gain access to the victims without any established entry points. In formulating this character, the writers were inspired by the very real exploits of Jack the Ripper and the 'Night Stalker', Robert Ramirez, whose brutal series of home-invasion murders terrorised residents of LA and San Francisco in the mid-80s. Accordingly, it was Carter who formulated both the idea that this killer extract the victims' livers for their regenerative potential, and that he hibernate and reappear every thirty years to collect his next harvest. From the outset, with the frame by frame zooming shot to a pair of blood-red eyes within a storm drain, and the killer's impossible entry by means of the smallest of air-vents within his chosen victim's office, the audience are aware of the otherworldly nature of the monster lurking out of sight. At the crime-scene, Mulder's discovery of an elongated finger-print on the rim of the vent leads him to a similar conclusion to the derision of Colton and his superiors. The growing mutual respect between Mulder and Sculley is highlighted by the episode sub-plot in which Sculley is prepared to relinquish her career aspirations to defend the integrity of her partner. As such, her friendship with the superficial Colton, played superbly in his first standout performance by now respected character actor, Donal Logue, deteriorates as the latter tries to safeguard his reputation while besmirching that of 'Spooky Mulder'. Yet, it is Doug Hutchison who steals the show with his spine- tingling performance as the demonic Eugene Victor Tooms - which he claims was based on Hopkin's portrayal of Hannibal Lecter. Despite being aged 33 when he auditioned for the role, both writers and producers thought him far younger, and not mature enough to play such an enigmatic part. Their opinion changed as soon as he was instructed to suddenly adopt belligerent behaviour. Such was the impact of the performance that, the danger of being typecast aside, Hutchison is reported to have sent Carter a calf's liver as an amusing thank-you gift. In spite of his character's arrest, a successful polygraph test results in his release, to commit a second murder. A combination of telling special effects, and the extraordinary skills of a contortionist named 'Pepper' provides one of the most unnerving scenes as Tooms descends the narrowest of chimney spaces. As Mulder delves deeper into the historical records, it becomes apparent that a killer with the same modus operandi has been committing murders every thirty years in the same vicinity, dating back as far as 1903. Even more unsettling, they discover that for each crime-spree the fingerprints of the assailant are a perfect match, and photographic evidence reveals Tooms to be an ageless assassin. Mulder and Sculley's entry into 68 Exeter Street, the abandoned derelict residence of the 1903 Tooms, leads to the stomach-turning discovery of a nest constructed from this 'monster's bile, and the conclusive evidence of the trophies he has collected from each victim. This visit also triggers the selection of Sculley as the killers next intended victim, and the exciting culmination of the action as Mulder comes to his partner's rescue and captures Tooms. It also serves as the source of the frame-by-frame shot of our protagonists in the title sequence for future episodes. Frequently, voted as one of the top-ten episodes of the entire 'X-Files' output, and often at the top of the list (such as that compiled by 'Empire' magazine), many of the quality aspects were completed in post-production with the writers, producers, and cast having all been at odds with the director. Finally, the opportunity for a sequel was also left open with the final chilling smile of Tooms as he realises the feeding hatch in his cell door could proffer a means of escape.
This third instalment was the first not to be written by the show's creator. Penned by Glen Morgan & James Wong, who would go on to produce the highly original 'Final Destination' for the silver screen, this represents the first in a series of episodes they would create, providing some of the most memorable moments of this cult series. A welcome break from the previous mythology-dominated episodes, Chris Carter, was aware that the show's longevity would benefit from occasional diversions away from UFO investigations. Called in by one of Sculley's ambitious Academy classmates, Agent Tom Colton, stumped by a series of inexplicable murders in Baltimore, Mulder and Sculley's quarry here is a serial killer, whose signature is to rip out the victim's liver with his bare hands. In addition, the murderer appears to gain access to the victims without any established entry points. In formulating this character, the writers were inspired by the very real exploits of Jack the Ripper and the 'Night Stalker', Robert Ramirez, whose brutal series of home-invasion murders terrorised residents of LA and San Francisco in the mid-80s. Accordingly, it was Carter who formulated both the idea that this killer extract the victims' livers for their regenerative potential, and that he hibernate and reappear every thirty years to collect his next harvest. From the outset, with the frame by frame zooming shot to a pair of blood-red eyes within a storm drain, and the killer's impossible entry by means of the smallest of air-vents within his chosen victim's office, the audience are aware of the otherworldly nature of the monster lurking out of sight. At the crime-scene, Mulder's discovery of an elongated finger-print on the rim of the vent leads him to a similar conclusion to the derision of Colton and his superiors. The growing mutual respect between Mulder and Sculley is highlighted by the episode sub-plot in which Sculley is prepared to relinquish her career aspirations to defend the integrity of her partner. As such, her friendship with the superficial Colton, played superbly in his first standout performance by now respected character actor, Donal Logue, deteriorates as the latter tries to safeguard his reputation while besmirching that of 'Spooky Mulder'. Yet, it is Doug Hutchison who steals the show with his spine- tingling performance as the demonic Eugene Victor Tooms - which he claims was based on Hopkin's portrayal of Hannibal Lecter. Despite being aged 33 when he auditioned for the role, both writers and producers thought him far younger, and not mature enough to play such an enigmatic part. Their opinion changed as soon as he was instructed to suddenly adopt belligerent behaviour. Such was the impact of the performance that, the danger of being typecast aside, Hutchison is reported to have sent Carter a calf's liver as an amusing thank-you gift. In spite of his character's arrest, a successful polygraph test results in his release, to commit a second murder. A combination of telling special effects, and the extraordinary skills of a contortionist named 'Pepper' provides one of the most unnerving scenes as Tooms descends the narrowest of chimney spaces. As Mulder delves deeper into the historical records, it becomes apparent that a killer with the same modus operandi has been committing murders every thirty years in the same vicinity, dating back as far as 1903. Even more unsettling, they discover that for each crime-spree the fingerprints of the assailant are a perfect match, and photographic evidence reveals Tooms to be an ageless assassin. Mulder and Sculley's entry into 68 Exeter Street, the abandoned derelict residence of the 1903 Tooms, leads to the stomach-turning discovery of a nest constructed from this 'monster's bile, and the conclusive evidence of the trophies he has collected from each victim. This visit also triggers the selection of Sculley as the killers next intended victim, and the exciting culmination of the action as Mulder comes to his partner's rescue and captures Tooms. It also serves as the source of the frame-by-frame shot of our protagonists in the title sequence for future episodes. Frequently, voted as one of the top-ten episodes of the entire 'X-Files' output, and often at the top of the list (such as that compiled by 'Empire' magazine), many of the quality aspects were completed in post-production with the writers, producers, and cast having all been at odds with the director. Finally, the opportunity for a sequel was also left open with the final chilling smile of Tooms as he realises the feeding hatch in his cell door could proffer a means of escape.