PROFILER
1X01: INSIGHT
ORIGINAL AIR DATE ON NBC: 09/21/1996
TRANSCRIBED FROM DVD
Written by CYNTHIA SAUNDERS
Directed by JOHN PATTERSON
Transcript by Intrepid
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Please do not archive this transcript without permission from the
Transcriptionist.
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==========================
SUMMARY: Samantha Waters comes out of hiding at the request of Bailey Malone to
investigate a string of murdered women in Atlanta.
==========================
PROFILER
1X01: INSIGHT
==========================
COLD OPEN:
[EXT. HOUSE - NIGHT]
[VISITOR'S POV]
(The camera swings and the side of the house comes into view. The porch light
is on. The camera zooms in and focuses on the window next to the front door.)
CUT TO:
[VISITOR'S POV]
(Looking through the window from the outside of the house, a woman sits at her
vanity brushing her hair. She's dressed in a blue robe.)
CUT TO:
[VISITOR'S POV]
(Still looking through the window into the house, the WOMAN walks down the
stairs to the ground floor. She walks in through an open door.)
(Cut to: The WOMAN is now in the kitchen. She takes the tea kettle and fills
up her cup.)
(Cut to: The WOMAN walks out of the kitchen and into the living room. She's
carrying her cup in one hand and a book in the other. She takes a sip of the
cup, puts it on the table and sits in the chair.)
CUT TO:
[INT. HOUSE - NIGHT - CONTINUOUS]
(The window slides up and open in a nearby darkened room.)
(The visitor is now in the house. He walks out of the room to the hallway.)
(Cut to: The WOMAN reaches for her cup and takes a sip.)
CUT TO:
[VISITOR'S POV INSIDE THE HOUSE]
(The visitor enters the room behind the WOMAN who is sitting in the chair and
reading her book. She is unaware that he is there. He walks up to her.
Directly up to her. She is still reading the book in one hand while holding the
cup in the other.)
[CAMERA SLOW MOTION AND DISTORTED]
(Suddenly she turns around, looks directly at the visitor and screams.)
(A hand rises and covers her face.)
HARD CUT TO
END OF TEASER
ROLL TITLE CREDITS
FADE IN.
[INT. THE FARM - SAM'S BEDROOM -- NIGHT]
(Camera opens on a photograph of a young SAMANTHA WATERS, her husband and
daughter, CHLOE in a wooden frame on her vanity. The camera rises and we see a
reflection of SAMANTHA as she applies her mascara to both eyes.)
(SAMANTHA pauses and stares at her reflection in the mirror, lost in her own
thoughts. Camera holds on a close up of a side view of SAMANTHA'S left eye.)
DISSOLVE TO:
[EXT. ATLANTA CITY SKYLINE (STOCK) - NIGHT]
[EPISODE TITLE: INSIGHT]
[INT. BAR - NIGHT]
(SAMANTHA WATERS walks into the bar. She passes by the different people as she
heads for the counter.)
SAMANTHA WATERS: Hey, Ben.
(BEN, who is at the far end of the bar working, looks up and sees SAM. He
smiles at her and heads toward her.)
BEN: Oh, hey, hey! How's it going?
SAMANTHA WATERS: I'll have a clear wine.
BEN: All right.
(SAM puts her bag on the bar top and takes a seat. BEN puts a napkin out on the
counter and gets a glass out for her.)
BEN: Now, didn't I tell you before that a woman like you shouldn't go out
alone? There are psychos out there, you know.
SAMANTHA WATERS: Mmm. Do you give this lecture to men?
BEN: Mm-mm. [Translation: No.] They're the psychos. You can't tell them by
sight, you know.
SAMANTHA WATERS: Well, I have a pretty good sense of smell.
(At that moment, a tall thin man moves to stand next to SAMANTHA. She turns and
looks at him.)
(He turns and looks at her. She recognizes him.)
SAMANTHA WATERS: Ahh.
(She reaches for her bag. The BUYER leans down close to her and speaks casually
to her.)
BUYER: This would be a lot easier if you would give me a phone number, some way
to contact you.
(She smiles at him and pushes the envelope toward him, then pulls her glass of
wine toward her. The BUYER opens the envelope and takes out the photos. He
leafs through them, commenting as he flips through them.)
BUYER: (approving) Very artsy. Where do I send the money? (glances at her)
Assuming there is some.
SAMANTHA WATERS: Just leave it with Ben.
(Just then, the news report from the television is heard. BEN looks up at the
tv on the shelf in the corner of the bar.)
TV ANCHOR: (from tv) We interrupt this program to bring you a special news
bulletin.
(BEN turns around and reaches out to make the volume louder.)
BRIAN JOHNSON (TV ANCHOR): (from tv) Reporting live from Buckhead, where just
an hour ago, the body of another woman was discovered. She's been identified as
Catherine Windsor.
(At the news report, SAMANTHA is bothered and quietly grabs her bag and moves
away from the counter.)
BRIAN JOHNSON (TV ANCHOR): (from tv) Details are still sketchy at this hour,
but it appears she died earlier this evening making her the fifth victim of the
Saturday Night Stalker.
(ANOTHER MAN, with a cigarette hanging from between his lips, smoothly moves
forward to take her seat. The BUYER sitting next to SAMANTHA is unaware that
she moved away. He talks to his drink.)
BUYER: (to SAM) Wow. You have quite an eye. You know, we should--
(At this point, the BUYER raises his head and realizes that SAM'S gone and that
some strange MAN is sitting next to him. He stares at the man, speechless.)
BRIAN JOHNSON (TV ANCHOR): (from tv) ... Local, state, and federal agencies.
CUT TO:
[EXT. BUCKHEAD - WINDSOR RESIDENCE -- NIGHT]
(An officer car pulls up in front of the house. The place is swarming with
officer cars, emergency personnel, and the media.)
BRIAN JOHNSON (TV ANCHOR): (live) Meanwhile, the unknown assailant continues
to target single, wealthy women. Reporting live from the scene, this is Brian
Johnson. Back to you in the studio, Steve and Renee.
(The car door opens and JOHN GRANT steps out.)
(He turns and heads for NATHAN BRUBAKER who fills him in on the details. They
both head for the front of the house.)
JOHN GRANT: Nathan, how's it goin'?
NATHAN BRUBAKER: It's goin'.
JOHN GRANT: So what you got?
NATHAN BRUBAKER: No forced entry. Same M.O.
JOHN GRANT: Any witnesses?
NATHAN BRUBAKER: Neighbor saw a guy come over tonight. too dark to I.D. him.
We're going through the motions on hair and fiber. But I'll lay odds we won't
get anything more than the others. We've got a partial print. Checking it
through AFIS now. Maybe we'll get lucky this time.
(The two men reach the front door and walk into the house.)
[INT. CATHERINE WINDSOR'S RESIDENCE - LOBBY - NIGHT - CONTINUOUS]
(They walk through the foyer, head up the stairs and to the second floor.)
JOHN GRANT: Well, lucky's not going to get it. I'm getting the FBI in on this
one.
NATHAN BRUBAKER: Ooh, the big boys.
JOHN GRANT: Bailey Malone.
NATHAN BRUBAKER: Oh, yeah. The guy who wrote the book.
JOHN GRANT: Five women are dead. We need a profile on this guy.
NATHAN BRUBAKER: Profile, full face, anything we can get.
(They enter the bedroom and stop.)
(Cut to several black and white flashes of the crime scene:
* CATHERINE WINDSOR'S eye.
* The cut hair left on the pillows.)
(The OFFICER snaps the photos of the body.)
(Cut to several black and white flashes of the crime scene:
* Her Feet
* Rope tied to the bed
* Cut hair)
(JOHN GRANT and NATHAN BRUBAKER stand at the foot of the bed taking it all in.)
(Someone hands JOHN GRANT an evidence bag with a piece of paper inside.)
NATHAN BRUBAKER: He left us another Shakespeare quote.
JOHN GRANT: (reading) "Some shall be pardoned, and some ... punished."
[Note: Quote is from "Romeo and Juliet", Prince, Act V, iii.]
(Both men continue to look at the crime scene in front of them. JOHN swallows.)
CUT TO:
[EXT. -- NIGHT]
(A helicopter touches down on the parking lot. There are officer cars there.
The helicopter door opens and a tall man dressed in black and wearing a hat
steps out. He shuts the door, turns around and heads toward the two
detectives.)
JOHN GRANT: Welcome to Atlanta.
BAILEY MALONE: Thanks.
CUT TO:
[INT. POLICE DEPARTMENT -- DAY]
(The office is crowded with people.)
JOHN GRANT: The press is in a feeding frenzy. The city's in a panic. Shoot,
I'm in a panic.
(JOHN GRANT walks into his office carrying a cup of coffee. BAILEY MALONE
follows him inside. They head for their work board with the pictures of the
crime scenes posted on them.)
BAILEY MALONE: That's exactly what he wants, John.
(The opposite office door opens and GRACE ALVAREZ, the Forensic Pathologist,
walks into the room. She doesn't waste any time and goes into her report.)
GRACE ALVAREZ: The puncture mark was a phenobarbital injection.
(Both men turn around to look at her.)
GRACE ALVAREZ: Same random wound pattern. All post-mortem. Cause of death
was suffocation. I'll know more after the autopsy.
(JOHN GRANT makes the introductions.)
JOHN GRANT: Grace, Bailey Malone, FBI. Grace Alvarez, Medical Examiner.
(They shake hands. JOHN is busy with his back to them.)
BAILEY MALONE: Any ideas about the killer?
GRACE ALVAREZ: He's meticulous, very precise, almost ... artistic.
JOHN GRANT: Five women are dead. We got no trace evidence, no leads, no
witnesses. Nothing.
(JOHN turns around and heads back to his desk.)
(BAILEY puts on his glasses and turns to look at the work board.)
BAILEY MALONE: We need to know the victims.
(JOHN looks up at BAILEY.)
JOHN GRANT: It's a little late for that.
BAILEY MALONE: Friend of mine has a theory. Says murder like this is a kind of
gruesome intimacy that requires both people, like a dance.
(BAILEY takes off his glasses and turns around to look at JOHN.)
BAILEY MALONE: Sam says the more you learn about the victims, the closer you
get to the killer.
JOHN GRANT: All I know is this guy likes what he does and we've got six days to
find him before he does it again.
CUT TO:
[EXT. ANGEL BROWN'S FARM -- DAY]
(Camera moves slowly across the wide open space. It passes a woman in
protective gear operating a torch while working on a large metal sculpture
structure. The camera continues to move beyond her to show the road leading in
to the residence and the lone car driving up the road.)
(ANGEL BROWN takes a step back from her large art sculpture and turns the blow
torch off.)
(The car drives up the path and stops in front of the hill fronting the stairs
leading up to the house on top.)
(ANGEL puts her tools aside and lifts her protective headgear up and off her
head. She turns around and notices the car.)
(The large german shepherd dog sitting quietly at her feet perks up. He jumps
up, growls and runs toward the car. ANGEL squints her eyes to see who is
visiting them.)
(Inside the car, BAILEY MALONE turns the engine off and takes the key out of the
ignition. By this time, the german shepherd is barking enthusiastically and
growling just outside his closed car door.)
(ANGEL sets her mouth in a thin angry line and heads for the car.)
(Inside the car, BAILEY MALONE has successfully rolled up his window halfway to
keep the dog out of the car, but the dog has his paws firmly set on the window
glass and sticks his nose into the car. He continues to bark at BAILEY.)
BAILEY MALONE: (shouts) Angel!
(The dog barks.)
BAILEY MALONE: (shouts) Angel, will you take this dog off me?!
ANGEL BROWN: Denzel!
(The german shepherd withdraws.)
(ANGEL BROWN peers into the partially opened window. She looks at BAILEY.)
ANGEL BROWN: You're not looking so good, Malone.
BAILEY MALONE: I see you haven't changed a bit.
(Apparently, there's no love lost between these two.)
ANGEL BROWN: So what do you want?
BAILEY MALONE: I've got to talk to Sam. It's important.
(After a moment, she tells him.)
ANGEL BROWN: She's in the tack shed.
(ANGEL takes a step back away from the car door. BAILEY opens the door and gets
out of the car, his eyes firmly on the dog heeling next to her. In his hand, he
has an FBI folder.)
(BAILEY turns and heads for the tack shed. ANGEL follows him and gives him a
piece of her mind.)
ANGEL BROWN: You know, if you came all the way out here because of that mess
back in Atlanta, you can just get right back in your car and drive on out of
here.
(ANGEL stops. BAILEY pauses up the side of the hill. He turns to ANGEL.)
BAILEY MALONE: Nice place you've got here.
ANGEL BROWN: Yeah, it was till you showed up.
(BAILEY continues up the hill toward the tack shed. Tethered in front of the
shed is a brown colored horse. BAILEY pauses and pets the horse.)
(He looks inside the shed and sees her. He steps forward, taking his sunglasses
off.)
(Inside the shed, SAMANTHA WATERS is pitching hay. BAILEY walks up to her. She
throws the hay at BAILEY.)
BAILEY MALONE: This the way to treat an old friend?
(For a moment, SAMANTHA doesn't turn around. Then she does.)
SAMANTHA WATERS: Whatever you want, the answer is no.
BAILEY MALONE: Say hello first, kid. We can fight later.
(BAILEY is thrilled to see her. He steps forward, a smile on his face. He
stops in front of her, then puts his arms around her in a hug.)
(SAMANTHA can't help but hug him back, albeit reluctantly.)
CUT TO:
[INT. HOUSE - KITCHEN - DAY - SHORT TIME LATER]
(Camera opens on a line of SAMANTHA'S photographs hanging on the wall. In the
background, a tea kettle whistles from the kitchen.)
BAILEY MALONE: You're still quite the photographer.
(BAILEY stands in the living room looking at the various framed photographs
hanging on the wall. The teapot stops whistling. SAMANTHA is in the kitchen
making them tea.)
SAMANTHA WATERS: Those pictures don't have bodies in them. Not even live ones,
Malone.
(SAMANTHA puts the cups on the table.)
(It's time. BAILEY turns around and heads into the kitchen. He takes his
glasses off.)
BAILEY MALONE: I guess you heard about the killings in Atlanta.
(SAMANTHA comes out of the kitchen with the sugar and cream. She puts that on
the table.)
SAMANTHA WATERS: Look around you, Bailey. Do you see a TV? Any newspapers?
(He smiles.)
BAILEY MALONE: I'm not asking you to get involved in the investigation, Sam. I
just want you to take a look at the last crime scene, tell me what you think.
You'll be in and out in a couple of hours.
(SAMANTHA looks at BAILEY.)
SAMANTHA WATERS: I quit ... three years ago. Remember?
BAILEY MALONE: We're up against the wall on this. Just think about it.
(BAILEY puts the FBI folder on the dining room table.)
DISSOLVE TO:
[LATER THAT EVENING]
(The FBI folder is still on the table.)
(SAMANTHA has her elbow on the table staring at the folder in front of her,
completely lost in her thoughts.)
(The front door opens. ANGEL walks into the room. SAMANTHA turns to look at
her.)
(ANGEL walks into the dining room and puts her bag down. SAMANTHA smiles
tiredly at her.)
ANGEL BROWN: Hey
SAMANTHA WATERS: Hey. How was your day?
(ANGEL takes the bottle of beer and sits in the chair at the table. The one
directly in front of the FBI folder.)
ANGEL BROWN: Uhh ... let's just say I wish I could find a man who was as
interested in my sculpture as he was in my legs.
SAMANTHA WATERS: Mmm. Good luck.
(SAM holds out her beer bottle, ANGEL clinks her beer bottle against it and they
both take a sip of their beer.)
ANGEL BROWN: So what are you doing up at two in the morning?
SAMANTHA WATERS: (shakes her head) I just couldn't sleep.
ANGEL BROWN: Didn't I tell you not to tell Bailey where you were?
(SAM doesn't say anything.)
ANGEL BROWN: Didn't I?
SAMANTHA WATERS: You told me.
CUT TO:
[STILL LATER THAT NIGHT]
(SAMANTHA is lying awake in her bed. Her bedroom door is ajar. A little
blonde-haired girl carrying a stuffed animal under her arm comes padding down
the hallway toward the door. She walks into the room.)
CHLOE WATERS: Momma?
(SAMANTHA turns around to look at her daughter. She gets up.)
SAMANTHA WATERS: What is it, baby girl?
(CHLOE stands on the side of the bed and looks pleadingly at her mom.)
CHLOE WATERS: Can I sleep with you?
SAMANTHA WATERS: Of course you can. Come on.
(CHLOE climbs up into bed. SAMANTHA helps settle her in under the covers.)
SAMANTHA WATERS: Here. ... Ok?
CHLOE WATERS: I like your bed better.
SAMANTHA WATERS: Oh, you do? How come?
CHLOE WATERS: It's more comfortable.
SAMANTHA WATERS: Oh.
(SAM kisses CHLOE on her temple. CHLOE settles in and closes her eyes to sleep.
SAMANTHA lies next to her, wide awake and thinking.)
CUT TO:
[INT. BATHROOM - EVEN LATER]
(Camera shows the FBI folder on the small bathroom table next to the sink.)
(Camera moves over to the tub. The curtain around the shower is closed, but an
outline is seen on the shower curtain of a woman sitting inside the tub.)
(Cut to: SAMANTHA is sitting inside the tub, the hot shower spray hitting her
on her face. Her eyes are closed. She rests her arms around her knees and
lowers her head. Thinking.)
DISSOLVE TO:
[EXT. WINDSOR RESIDENCE -- DAY]
(Establish. An officer walks up the path toward the front door where another
officer is stationed outside. A portion of the crime scene tape around the
front pillars is down on the ground.)
CUT TO:
[INT. CAR (PARKED) - DRIVEWAY -- DAY]
(SAMANTHA is sitting in the passenger seat of a parked car in the driveway. She
stares out the window at the WINDSOR house across the way.)
(BAILEY sits in the driver's seat next to her. He puts a hand on hers.)
BAILEY MALONE: It's all yours.
(SAMANTHA doesn't say anything. She simply nods her head absently at him, her
thoughts already on the crime scene in front of her.)
CUT TO:
[INT. WINDSOR RESIDENCE -- DAY]
(SAMANTHA steps up to the open front door and pauses for a moment. She looks
around into the house, then she steps inside.)
(Tucked in the crook of the right arm is the FBI folder. She walks slowly
through the foyer, all the while looking around the house, taking it all in.)
(SAMANTHA stops about halfway into the foyer and pauses to look at the large
portrait of CATHERINE WINDSOR in a white dress lounging on a chair. As she
stares at the portrait, SAMANTHA gets a flash of CATHERINE WINDSOR dead in her
bed. SAMANTHA blinks, then turns around to look around.)
[DIFFERENT ANGLE OF DINING ROOM DOORWAY]
(SAMANTHA heads for the dining room.)
(Dissolve to: SAMANTHA puts the FBI folder on the dining room table, takes her
coat off and drapes it over the seat. She reaches for the envelope with the
photos in them and opens it.)
(The first photo is of CATHERINE WINDSOR and her husband. It appears to be a
portrait of the two of them. She puts the photo on the table and looks at the
next one.)
(The second photo is of a red pair of high heeled shoes. The shoes look new.
SAMANTHA pauses to look at the photo, then puts in on the table.)
(The third photo is of the note with the Shakespearean quote that they found.
It's draped over the woman's body, across her ribs. SAMANTHA looks at this
photo.)
[ANGLE OF DINING ROOM]
(Dissolve to: SAMANTHA is sitting on a chair up against the wall. Her arms are
wrapped around her midriff as she sits there quietly thinking.)
(As if she were an observer, SAMANTHA envisions the dining room. The table is
set for two, two tall candles on the table, crystal wine and drinking glasses,
and linen napkins.)
(Quick black and white flashback to: CATHERINE WINDSOR walks into the dining
room. The entire scene is black and white except for CATHERINE'S red dress and
red shoes. She walks up to the table as if checking the setting.)
(End of flashback. Resume on SAMANTHA.)
(SAMANTHA continues to stare out into the scene before her.)
(Quick black and white flashback to: CATHERINE lights the candle sticks. She
looks at the camera and smiles. She sits down.)
(End of flashback. Resume on SAMANTHA.)
(SAMANTHA continues to stare out into the scene before her.)
(Quick black and white flashback to: CATHERINE looks up as a MAN takes a seat
opposite her. He sits down at the table.
(End of flashback. Resume on SAMANTHA.)
(SAMANTHA'S gaze trains down under the table.)
(Quick black and white flashback to: CATHERINE'S red shoes. She slips her feet
out of her shoes. She moves her bare foot over toward her companion's foot.)
(End of flashback. Resume to present.)
DISSOLVE TO:
[SECOND FLOOR]
(SAMANTHA turns the corner into the far end of the hallway. In the rooms
directly in front of the camera, crime scene tape falls hanging from the door
frames onto the floor.)
(Dissolve to: SAMANTHA steps into the bedroom.)
[BEDROOM]
(SAMANTHA looks inside and sees the various framed photos and pictures on the
fireplace mantle.)
(Her gaze moves from the fireplace, across the room, and settles on the blood-
stained sheetless bed. The bed is positioned in the middle of the bedroom.)
(Quick flash of CATHERINE WINDSOR in the bed, dead.)
(Cut to: SAMANTHA stands off to the side of the foot of the bed and stares at
the bed.)
(Suddenly, she turns around and looks at the wall near her. She walks slowly
across the mirrored shelves, taking it all in. She pauses in front of one
mirrored shelved portion of the wall.)
[OFF MIRRORED REFLECTION]
(Cut to: SAMANTHA looks around the bedroom.)
(She slowly makes her way toward the closet where there are shelves of shoes and
accessories.)
(She steps inside the closet and sees the red dress that she envisioned hanging
on a clothes hanger in the accessories closet.)
(She reaches out to move the hanger while simultaneously looking for something
else. Her left hand removes the hanger while her right hand finds the switch to
the hidden panel inside the accessories closet.)
(The shelves full of shoes swings open like a door.)
[INT. HIDDEN CAMERA ROOM]
(SAMANTHA opens the door and finds a video camera set up against the bedroom
wall. She steps into the room and flicks the camera switch on.)
(The monitor shows a clear view of the bed. The numbers on the bottom right
corner of the monitor reads: 0:50:39.)
(SAMANTHA lingers in the doorway to the hidden room, the red dress on the hanger
in her hand. She stands there, thinking.)
(Through her eyes, SAMANTHA "sees":
(Quick series of flashbacks:
* A glass falls and crashes to the floor breaking.
* CATHERINE struggles against her attacker.
* The attacker pushes her and she falls back onto the bed.
* The attacker puts on a pair of latex gloves.
* The attacker peels off thick strips of tape.
* The attacker has a hold on her upper arm long after she's dead.)
(End of flashbacks. Resume to present.)
BAILEY: (echoing) Sam? Sam?
(BAILEY MALONE turns the corner and finds SAMANTHA leaning against the door
frame to the secret room, deep in thought. He doesn't say anything.)
SAMANTHA WATERS: I'll need to see the other crime scenes, talk to medical
examiner.
(She looks at BAILEY.)
SAMANTHA WATERS: Bailey, no one can know who I am. I don't care what you tell
them. Make something up, but I am not Samantha Waters.
(BAILEY doesn't say anything.)
FADE OUT
(COMMERCIAL SET)
FADE IN.
[EXT. ANGEL'S FARM - LAKE -- DAY]
(SAMANTHA walks along the lake with CHLOE.)
SAMANTHA WATERS: It's only for a few days, then I will be home every night.
CHLOE WATERS: But mom, why do you have to go?
SAMANTHA WATERS: Well ... Chlo ... what if someone at your school was in
trouble and they needed your help and you were the only one who could do it?
Now, would you?
(They move from the lake into the wooded area still walking side-by-side.)
CHLOE WATERS: Is it a friend?
SAMANTHA WATERS: No. You don't know her, but she needs your help. Now, would
you do it?
CHLOE WATERS: Not if I had to leave my little girl at home, sad and alone.
SAMANTHA WATERS: Hmm. You're really going to make me hate leaving you.
CHLOE WATERS: Hmm-yeaaah.
SAMANTHA WATERS: Yeah.
(CHLOE giggles and SAMANTHA pushes her to go on ahead.)
SAMANTHA WATERS: Go.
(CHLOE runs ahead of SAMANTHA and off screen.)
CUT TO:
[EXT. ATLANTA - DAY]
[INT. POLICE DEPARTMENT -- DAY]
(BAILEY MALONE walks down the hallway. JOHN GRANT follows him.)
JOHN GRANT: Who is she?
BAILEY MALONE: A forensic psychologist.
JOHN GRANT: FBI?
BAILEY MALONE: No.
(BAILEY turns into his office. JOHN lingers by the doorway. BAILEY hangs up
his coat on the coat rack.)
JOHN GRANT: So who does she work for? Where's she from?
BAILEY MALONE: She's the one who found the video camera.
(BAILEY turns around to look at JOHN.)
BAILEY MALONE: John, Sam's the best profiler there is. The rest is irrelevant
to this case.
(BAILEY moves to take his seat at the table.)
BAILEY MALONE: Leave it alone.
(JOHN stares at BAILEY.)
CUT TO:
[INT. POLICE DEPARTMENT - BULLPEN -- DAY]
(BAILEY gets his cup of coffee while other OFFICERS stand around the desk. JOHN
stands in front of a desk, his back to the camera, he's on the phone.)
(BAILEY turns around and heads toward the camera.)
JOHN GRANT: (to phone) Keep checking. Try hairdressers, clubs, anything.
He's got to spot him somewhere.
(He smiles. SAMANTHA WATERS walks into the office. BAILEY was walking toward
her. He meets up with her.)
BAILEY MALONE: Anything at the other crime scenes?
SAMANTHA WATERS: (nods) Yeah.
(BAILEY turns around and walks back into the room to make the introductions..)
BAILEY MALONE: Sam ... all right.
(BAILEY walks up to JOHN, who is just hanging up the phone, and puts a hand on
his shoulder as he introduces SAMANTHA to him.)
BAILEY MALONE: This is John Grant, lead detective on the investigation. John,
Dr. Sam Lawson.
(SAMANTHA takes her glasses off. JOHN turns around. They meet.)
CUT TO:
[INT. POLICE DEPARTMENT - CONFERENCE ROOM -- DAY]
(The investigative team is sitting around the conference table, meeting.
Starting with JOHN GRANT, the camera slowly pans around the table to show the
key players. The rest of the police officers sit in chairs on the edge of the
surrounding walls.)
JOHN GRANT: The houses are isolated. The victims all lived alone. As far as we
can tell, they never crossed paths.
BAILEY MALONE: So what's the common denominator?
JOHN GRANT: (o.s.) They were all divorced, went to church, did charity work.
Fine upstanding citizens.
NATHAN BRUBAKER: All right, well, not Catherine Windsor. We've got five men
and counting on her home movies.
BAILEY MALONE: (o.s.) What about sexual assault?
GRACE ALVAREZ: There's no evidence of it.
SAMANTHA WATERS: Catherine had plastic surgery, breast implants. The others
didn't. I'm wondering, is there any way you can do a magnification on the
wounds of the other victims?
GRACE ALVAREZ: Oh, sure.
(JOHN remains quiet, his eyes watching SAMANTHA carefully, not trusting what
she's saying.)
SAMANTHA WATERS: And then you say here that the wounds are very precise, more
like incisions than trauma wounds.
GRACE ALVAREZ: He used a scalpel or something like it. But not until they were
dead, which is why there was so little blood.
NATHAN BRUBAKER: (trying to understand how it applies to them) Ok, so what?
He--he hates a mess?
JOHN GRANT: (mumbles) He hates women, that's for sure.
SAMANTHA WATERS: Actually, this looks more like jealousy or envy. Look at what
he does: Tape on the mouth, tape on the breasts. He cuts off all their hair.
These are all aspects of the female sexuality, the source of their allure, their
power over men. He's jealous of that power, so he destroys it, takes it for his
own.
(BAILEY listens to SAMANTHA, then his eyes shift over to JOHN who doesn't like
it.)
JOHN GRANT: I don't care why he does it. I just want to stop him. (quietly)
So can we move on here?
(SAMANTHA stares at him and blinks.)
CUT TO:
[INT. POLICE DEPARTMENT - WOMEN'S BATHROOM -- DAY]
(GRACE wipes her hands and tries to explain JOHN to SAMANTHA.)
GRACE ALVAREZ: John's a good cop. He's one of the best I've ever worked with.
He just doesn't like what he doesn't understand, and he doesn't understand how
you do it.
(GRACE turns to look at SAMANTHA.)
GRACE ALVAREZ: How do you do it?
(SAMANTHA turns to look at GRACE.)
SAMANTHA WATERS: There's no trick. I look at the forensic evidence, try to get
a feel for the victims, what their lives are like. I tend to think in images,
so I just sort of ... picture it happening.
GRACE ALVAREZ: You know, I've been doing this for ten years, and I've seen my
share. But this guy scares me, Sam. He's careful, and he's smart.
(SAMANTHA listens to GRACE.)
CUT TO:
[INT. POLICE DEPARTMENT -- DAY]
(Camera opens on a computer monitor. It beeps. The monitor reads:
United States Federal Bureau of Investigation
Personnel History File - Confidential
Personnel File Search
LAST NAME: Lawson
FIRST NAME: Sam, Samantha
OCCUPATION: Forensic Pathologist
(The active message box on top of the screen reads:
"No Such Record Exists"
GEORGE FRALEY: Nothing.
(GEORGE turns to look at JOHN GRANT, who is kneeling down next to him.)
JOHN GRANT: What do you mean?
GEORGE FRALEY: You said Lawson, right? L-A-W-S-O-N, Sam or Samantha, Forensic
Psychologist.
JOHN GRANT: That's right.
GEORGE FRALEY: FBI never heard of her.
(JOHN thinks about it for a moment and sighs. He looks up at GEORGE.)
JOHN GRANT: Check out any, uh, female forensic psychologists that ever worked
for the FBI.
GEORGE FRALEY: How do you expect me to do that?
JOHN GRANT: (smiles indulgently) You're the expert. Work your magic.
(JOHN stands up and slaps a hand on GEORGE'S shoulder as he steps away from
him.)
GEORGE FRALEY: You better not get me in trouble.
(GEORGE sighs. JOHN walks over to the door and fixes his jacket.)
JOHN GRANT: Just, uh, keep looking ... and call me at home.
(He turns around and looks at GEORGE, then leaves. GEORGE pauses for a moment,
then turns back to his computer.)
CUT TO:
[INT. POLICE DEPARTMENT -- NIGHT]
(SAMANTHA WATERS is in the conference room sitting at the table. She closes the
file in front of her and sighs. She looks beat.)
(The door opens and JOHN GRANT walks into the room.)
JOHN GRANT: What you got?
SAMANTHA WATERS: Um, nothing, really. Just some ideas.
(Rather than accept it, JOHN steps into the room past SAMANTHA and starts in on
her. He circles his way around the conference table.)
JOHN GRANT: Come on. You've gone over everything we've got, done your little
hocus-pocus thing at all five murder scenes, and you can't tell me anything
about the killer except that ... he's jealous of women.
(SAMANTHA'S not surprised by his attitude. She stands up and starts gathering
her things.)
SAMANTHA WATERS: Well, right now, I know more about the victims than I do about
him.
(JOHN stops in the same place where he started, to SAMANTHA'S right, he leans in
and comments softly to her.)
JOHN GRANT: We know where they are. It's him we're looking for.
(SAMANTHA stops. She fixes JOHN with a stare not finding his comment funny at
all.)
SAMANTHA WATERS: Is that supposed to be funny?
JOHN GRANT: We don't have a lot of time here, Dr. Lawson. So if you've got a
theory, I want to hear it.
SAMANTHA WATERS: You want a "theory"? You've got Chinese food in the
refrigerator, you like your women in heels, your scotch straight, and yourself
definitely on top.
(SAMANTHA gathers her things and head toward the door.)
SAMANTHA WATERS: (over her shoulder) But it's just a "theory".
(She opens the door and walks out of the room leaving JOHN standing there a bit
rattled.)
CUT TO:
[INT. POLICE DEPARTMENT -- NIGHT]
(Sitting behind his desk, BAILEY checks the gun cartridge. He puts the
cartridge on the desk top and unloads the chamber. He holds the gun out
sideways in front of him, then places it on the desk.)
(Through the glass wall, he sees SAMANTHA walk down the hallway, slinger her bag
over her shoulder.)
BAILEY MALONE: (calls out to her) Sam.
(SAMANTHA turns around and walks into BAILEY'S office.)
BAILEY MALONE: You ok?
SAMANTHA WATERS: Oh, never better.
BAILEY MALONE: How's Chloe?
SAMANTHA WATERS: She's great. Speaking of which, I got to go.
(SAMANTHA indicates the hallway, she turns to leave, but BAILEY stops her.)
(He reaches for her things on his desk.)
BAILEY MALONE: One second. I've got your FBI I.D ...
(He holds out the badge to her. She takes it and looks at it. He hands her the
other items one by one as well.)
BAILEY MALONE: ... driver's license ... and credit card. (he smiles) Don't do
too much damage. All under Dr. Lawson.
(SAMANTHA puts the items in her bag.)
SAMANTHA WATERS: (mutters under her breath) The perfect gift for that special
someone.
(She stops when she sees the last item BAILEY has for her. She stares at the
gun BAILEY holds out for her to take. She shakes her head.)
SAMANTHA WATERS: Forget it. You know I hate guns. I don't want it.
(BAILEY stands up, still holding the gun out for her.)
BAILEY MALONE: You're trained. You're on the job. You carry it.
SAMANTHA WATERS: I don't want it.
BAILEY MALONE: (firm) Take it.
(SAMANTHA stares at him. BAILEY stares back. Then after a moment, he backs
off. His face softens and he takes a breath.)
BAILEY MALONE: (quietly) Just take it for me, please. Sam.
(SAMANTHA blinks at BAILEY and stares at him for a long pause. Finally, as if
she's resigning herself to it, she takes the gun from BAILEY'S hand.)
(Almost relieved, BAILEY sits down in his chair. SAMANTHA knows something is
up.)
SAMANTHA WATERS: What's with you, Bailey?
BAILEY MALONE: I'm cynical, paranoid, and way too old to be doing this kind of
thing.
(SAMANTHA looks at BAILEY'S desk, then slowly turns toward the door.)
SAMANTHA WATERS: (whispers) You also drink too much.
(She takes a couple of steps.)
BAILEY MALONE: (loudly) (o.s.) I do not.
(SAMANTHA definitely stops and looks at BAILEY over her shoulder. She then
turns, smiles with her eyes and heads out into the hallway to head on home.)
(Camera lingers on the back of BAILEY'S neck. He leans back in his chair and
lifts the tumbler to his lips for a sip.)
CUT TO:
[INT. JOHN GRANT'S RESIDENCE -- NIGHT]
(The refrigerator door opens to show us an empty fridge with six cartons of
Chinese take out on the shelves. And nothing else. Two of the cartons are
open. One of the cartons still has a pair of wooden chopsticks sticking out
from the open top.)
(That's the carton that JOHN GRANT grabs. He looks inside it, removes it from
the fridge and closes the door.)
(In the background, he has the television set on. He heads into the next room,
his mind already on the game and takes a seat as he starts mixing the food in
the carton.)
(He takes a mouthful of noodles and settles down for dinner when there's a loud
pounding on his front door.)
(JOHN doesn't move. Maybe they'll just go away. He wipes his mouth with the
back of his hand, puts the carton on the seat next to him and reaches for the
remote just as the second wave of louder than the first pounding starts up again
on his front door.)
JOHN GRANT: (calls out) Yeah, yeah, yeah, yeah.
(He uses the remove to turn the television set off and stands up to answer the
door.)
(He reaches the door and looks through the blinds. He unlocks the door and
opens it.)
(It's BAILEY and he's pissed.)
(BAILEY walks into the house without an invitation.)
BAILEY MALONE: Couldn't leave it alone, could you?
(He lifts up his hand in greeting.)
JOHN GRANT: What're you talking about?
(JOHN closes the door and walks past BAILEY into the kitchen.)
BAILEY MALONE: Someone's been checking on Sam, running through mainframes in
every government agency there is.
(He opens the fridge and takes out a bottle of beer.)
JOHN GRANT: (unapologetic) And there's no record of her anywhere.
BAILEY MALONE: You have no idea what you're doing. If anyone finds out --
JOHN GRANT: (shouts) About what? About the feds protecting her?
BAILEY MALONE: (shouts back) They're not protecting her. They don't even know
where she is.
(JOHN doesn't say anything as it sinks in.)
BAILEY MALONE: (quietly) No one does.
JOHN GRANT: (softly) You got no choice. This investigation could turn on her
information. There's too much at stake to let this go. I'm not backing off on
this.
(BAILEY turns and walks away from JOHN. JOHN follows him, trying to convince
him.)
JOHN GRANT: Bailey, listen, you know me. You know you can trust me on this.
(BAILEY stops in front of the door.)
BAILEY MALONE: You remember the serial killer Jack-of-all-Trades?
JOHN GRANT: Sure. Fifteen victims all over the country.
(JOHN turns around and heads back to the living room. He sits down on the couch
to listen while BAILEY explains.)
BAILEY MALONE: Fifteen we know of. Never killed the same way twice. We
thought we were dealing with a dozen different killers until Sam figured it out.
JOHN GRANT: She's hiding from him?
BAILEY MALONE: No. The world's more interesting to him with her in it.
JOHN GRANT: So who's she hiding from?
BAILEY MALONE: Us.
(JOHN doesn't say anything. He's not sure he understands. BAILEY heads back
into the living room and sits on the couch next to JOHN.)
BAILEY MALONE: She's got a real gift, John. A mind like hers ... law
enforcement's never going to leave her alone.
JOHN GRANT: So what happened?
BAILEY MALONE: She was gaining on him.
DISSOLVE TO:
[INT. POLICE DEPARTMENT -- FLASHBACK]
(A man walks into the room carrying a large bouquet of white roses. He heads
toward SAMANTHA, who is the only person left in the office.)
BAILEY MALONE: (v.o.) We never knew how he found out about her, but he did.
(As she works, the man walks up to her. SAMANTHA looks up. He gives her the
bouquet. She speaks with him, shakes her head and smiles.)
BAILEY MALONE: (v.o.) He started sending her things.
(She puts the bouquet on the desk, looks around and reaches for the card. She
looks at the white roses and smiles. She opens the card.)
BAILEY MALONE: (v.o.) He saw her as the one person who was his equal ...
pitted his genius against hers.
(The written card reads: You work too hard.)
BAILEY MALONE: (v.o.) Turned it into his own sick little cat-and-mouse game.
(SAMANTHA looks around and she looks worried.)
CUT TO:
[EXT. WATERS RESIDENCE - EVENING - FLASHBACK - CONTINUOUS]
(Parked outside the WATERS' residence is a police vehicle.
BAILEY MALONE: (v.o.) So we put guards on her around the clock. Finally, she
dropped out of the investigation,
CUT TO:
[EXT. RESTAURANT - NIGHT - FLASHBACK - CONTINUOUS]
(Camera view outside the restaurant peering through the window into the dining
area where SAMANTHA WATERS is having dinner with her husband.)
BAILEY MALONE: (v.o.) ... and she thought he'd leave her alone, but he missed
her.
(The waiter walks up to the table and hands SAMANTHA a cordless phone. She
takes it and answers it. While she's on the phone, she looks toward the window
directly at the camera.)
BAILEY MALONE: (v.o.) He'd call her when she was out. He started acting like
some scorned lover.
(End of flashback. Resume to BAILEY.)
BAILEY MALONE: And so ... he upped the ante.
(BAILEY pauses and turns to look at JOHN. JOHN looks down.)
CUT TO:
[EXT. WATERS' RESIDENCE - DAY - FLASHBACK]
[SLOW MOTION CAMERA]
(Through the police car windows, we see SAMANTHA WATERS approach the car from
the front, looking in through the windows. As she gets closer, the camera pulls
back and turns to show the gunshot hole in the car window and the dead police
officer slumped back in his chair.)
(SAMANTHA turns and sees other officers walking toward the house. She looks in
the direction of the house and starts running toward the front door.)
BAILEY MALONE: (v.o.) He did the one thing he thought would pull her back into
the investigation.
CUT TO:
[INT. WATERS' RESIDENCE - LIVING ROOM -- DAY - FLASHBACK - CONTINUOUS]
[SLOW MOTION CAMERA]
(There are investigative officers inside the house. SAMANTHA runs in through
the house, through the dining room and into the office. She pushes officers
aside to get into the room.)
(Inside the room, there are papers strewn all over the floor. A photographer is
there taking pictures of the body.)
BAILEY MALONE: (v.o.) He killed her husband.
(SAMANTHA falls to her knees in front of her husband's body. She looks at him,
dead on the floor. She leans down and gathers him close to her as she starts to
cry.)
[AUDIO OFF: PICTURE ONLY]
CUT TO:
[SAMANTHA'S BEDROOM - NIGHT]
(End of flashback. Resume to SAMANTHA.)
(SAMANTHA sits up in bed. For a moment, she stares out in front of her,
crickets the only sound around her. She looks around, then turns and glances
down next to her. She sees CHLOE asleep.)
(SAMANTHA slowly lies back down next to her daughter.)
FADE OUT.
FADE IN.
[INT. POLICE DEPARTMENT -- DAY]
(BAILEY walks through the department, a green cup in his hand. SAMANTHA follows
him.)
BAILEY MALONE: We have 4 days left.
SAMANTHA WATERS: Something is wrong. The Windsor scene doesn't fit.
(They walk into his office. BAILEY puts his bag on the desk. SAMANTHA is
pacing the small office floor.)
BAILEY MALONE: How so?
SAMANTHA WATERS: Well, for one thing, there's no forced entry.
BAILEY MALONE: So he posed as a delivery man or a salesman.
(SAMANTHA is already shaking her head.)
SAMANTHA WATERS: Uh-uh. She had dinner with him.
BAILEY MALONE: Maybe she went out looking for Mr. Goodbar.
SAMANTHA WATERS: You don't bring Mr. Goodbar home, make him dinner, kick off
your shoes, and then do the dishes.
CUT TO:
[INT. POLICE DEPARTMENT - HALLWAY -- DAY]
(BAILEY and SAMANTHA take the theory to JOHN. They follow him through the
hallway.)
JOHN GRANT: A copycat? Come on.
BAILEY MALONE: Catherine knew the killer, John.
SAMANTHA WATERS: Which doesn't fit the profile. The stalker doesn't
personalize his victims.
JOHN GRANT: He used the same tape, the same knots to tie her up with, details
we've kept out of the press.
SAMANTHA WATERS: Well, then it was somebody who knew enough about these murders
to copy them.
BAILEY MALONE: How many people are connected with this investigation?
JOHN GRANT: I don't know. Dozens.
(They walk out of camera frame.)
CUT TO:
[INT. POLICE DEPARMTENT - GRACE'S OFFICE -- DAY]
(GRACE walks toward them, photos in one hand, a magnifying glass in the other.)
GRACE ALVAREZ: Look at this, ok?
(GRACE walks up to SAMANTHA and BAILEY. She shows them the first photograph.)
GRACE ALVAREZ: Here and here, scar tissues just on the edges.
(She hands the photo to SAMANTHA, then points to the second photo.)
GRACE ALVAREZ: Ok, and here, you can see suture marks. Same on all the other
victims, except for Catherine Windsor.
(GRACE hands the photos over the desk to JOHN who takes them and looks at them.)
GRACE ALVAREZ: None of the wounds were random. They all had different kinds of
plastic surgery.
(SAM hands the photo she's holding to JOHN who looks at it as well.)
JOHN GRANT: So why didn't they show up in the autopsies?
GRACE ALVAREZ: Because the killer followed the surgical cuts exactly.
(GRACE leans toward BAILEY and points to the lines on the photo.)
(NATHAN walks into the room.)
NATHAN BRUBAKER: Checked the medical records.
(NATHAN hands the file folder to JOHN. He opens it and looks through it.)
NATHAN BRUBAKER: The vics all had the same surgeon -- Lawrence Harrison.
Medical Complex Downtown.
(JOHN shuts the folder and looks at the others.)
CUT TO:
[INT. MEDICAL COMPLEX DOWNTOWN -- DAY]
(BAILEY and JOHN GRANT interview LAWRENCE HARRISON.)
BAILEY MALONE: All five victims were your patients. That's quite a
coincidence, Dr. Harrison.
LAWRENCE HARRISON: (calmly) I performed five hundred procedures last year.
JOHN GRANT: And you say you were out of town for the last five weekends.
LAWRENCE HARRISON: That's right. When I'm not out of town giving lectures, my
wife and I spend the weekend at Lake Lanier.
(As he talks, SAMANTHA looks at the framed black and white photographs hanging
on the wall behind him.)
BAILEY MALONE: Have you had any problems with the staff?
LAWRENCE HARRISON: I hand-pick my people. They have spotless records.
CUT TO:
[INT. POLICE DEPARTMENT - CONFERENCE ROOM -- EVENING]
(SAMANTHA stands in front of the board, staring at the various crime scene
photos. JOHN walks up to the door and pauses. Out of courtesy, he knocks
lightly.)
(SAMANTHA turns around to look at him. He walks into the room as he fills her
in on the Doctor's alibi.)
JOHN GRANT: Dr. Harrison's alibis check out, all except for the two weekends at
Lake Lanier. His wife's the only one who can verify that. We're still checking
his nurses and staff.
(She nods. JOHN looks at the photos on the board.)
JOHN GRANT: These guys never just quit it, do they?
SAMANTHA WATERS: No. They just get better at it.
JOHN GRANT: Until we stop 'em.
(He looks at her. Catching the use of the pronoun, she nods and looks at him.
She then turns away, back to the table.)
(JOHN hesitates for a moment, then broaches the subject with her. He walks
around her to look at her.)
JOHN GRANT: (quietly) Listen, uh ... I know who you are and what happened.
SAMANTHA WATERS: I know. Bailey told me.
JOHN GRANT: I'm sorry. If I'd known -
(He stops. She looks at him and he tries again.)
JOHN GRANT: I'm not going to tell anybody.
(After a moment, SAMANTHA nods her head.)
CUT TO:
[INT. POLICE DEPARMENT - CONFERENCE ROOM -- DAY]
(NATHAN BRUBAKER walks into the room where the technician is going over the
video analysis.)
TECHNICIAN (WOMAN): We found this on one of Catherine Windsor's home videos.
(On the television screen, she slowly pauses through the video to the right
spot.)
TECHNICIAN (WOMAN): The closest we come to seeing him. Is here.
(She pauses the video. SAMANTHA, who is sitting right next to the television
monitor, stares at the screen.)
JOHN GRANT: Ok, so what? Another boyfriend?
NATHAN BRUBAKER: This one works here. Or he did until last week. Evidence
analysis. His name's Alan Fontaine.
(Camera cuts to an extreme close up of the video side-view picture of ALAN
FONTAINE on the television monitor.)
SAMANTHA WATERS: So he had access to every file and lab report on the murders.
NATHAN BRUBAKER: Yep.
JOHN GRANT: Run that partial print from the Windsor scene through employee
records and do a background check on Fontaine.
(JOHN stands up and heads for the door.)
NATHAN BRUBAKER: Right.
(SAMANTHA turns and looks back at the television monitor that shows ALAN
FONTAINE standing with his back to the camera and CATHERINE WINDSOR naked in bed
with a sheet around her.)
(Quick flash to: The scene in front of her flashes black and white several
times as CATHERINE WINDSOR motions to ALAN FONTAINE. End of quick flash.
Resume to SAMANTHA.)
(SAMANTHA stands up and tries to catch up with JOHN.)
CUT TO:
[INT. POLICE DEPARTMENT - MAIN DESK - DAY -- CONTINUOUS]
(JOHN passes through the hallway in front of the main desk. SAMANTHA hurries to
catch up to him.)
SAMANTHA WATERS: John, wait a minute.
(He stops and doesn't turn around. He pushes through the door into the bull
pen.)
JOHN GRANT: Ok, he knew her. And your theory works, but it's just a theory.
There's no reason to think he didn't kill all of them.
(SAMANTHA catches up with him.)
SAMANTHA WATERS: John, the stalker chooses low-risk targets, single women who
live alone. And he still drugs them to make sure he can control them. Now,
Fontaine is 6 feet tall and weighs a good 185.
(JOHN looks at SAMANTHA for stating the obvious.)
JOHN GRANT: I've done my homework. That's not necessarily inconsistent.
SAMANTHA WATERS: Look, I'm telling you I don't think Fontaine is our guy.
JOHN GRANT: The guy is regular as rain. Five Saturday Nights, Five bodies. If
Catherine Windsor isn't the fifth victim, then where's the fifth body?
(SAMANTHA doesn't have an answer to that one.)
CUT TO:
[BULLPEN -- NIGHT]
(POLICE OFFICERS in their bullet proof vests, check their guns. JOHN is in the
group. He looks up.)
[BAILEY'S OFFICE - CONTINUOUS]
(BAILEY walks into the office holding the print results.)
BAILEY MALONE: Sam, the print matches Fontaine.
SAMANTHA WATERS: Well, that connects him to Catherine Windsor, not the others.
BAILEY MALONE: He's got a temper. String of ex-girlfriends have called in
domestic disturbances and dropped the charges.
SAMANTHA WATERS: I still don't think he's the stalker.
BAILEY MALONE: You don't think? Or you know?
(JOHN walks up to the doorway, adjusting his vest, and calling into the office.)
JOHN GRANT: (to SAMANTHA) You coming?
SAMANTHA WATERS: (quietly) I don't do this part.
CUT TO:
[INT. POLICE DEPARTMENT - FRALEY'S OFFICE -- NIGHT]
GEORGE FRALEY: Why shrinks?
(SAMANTHA leans against the door frame and explains. She walks into the
office.)
SAMANTHA: Well, sometimes plastic surgeons refer them to make sure they're not
having the surgery for the wrong reasons.
(GEORGE FRALEY works on the keyboard and the following results appear on the
monitor:
PATIENT REFERRAL HISTORY
Patient Name / Referred to / Address
Benjamin, Barbara / Jawolski / Westside Psychiatric Group
Holcomb, Sandra / Reuben / Westside Psychiatric Group
Diego, Carol / Reuben / Westside Psychiatric Group
Martin, Gloria / Jawolski / Westside Psychiatric Group
Windsor, Catherine / Reuben / Westside Psychiatric Group
GEORGE FRALEY: Ok, they all saw doctors at the Westside Psychiatric Group.
It's at the Medical Center Downtown.
SAMANTHA WATERS: Well, any doctor in particular?
GEORGE FRALEY: Just 2: Jawolski and Reuben.
CUT TO:
[EXT. FONTAINE RESIDENCE -- NIGHT]
(The cars pull up. JOHN GRANT exits his car. The other officers also get out
of theirs. He shuts the door and they all head for the front door. In the
background, a dog barks.)
(JOHN jumps over the low porch rail while the other officers get their weapons
out and position themselves outside. Ready.)
(JOHN knocks on the door.)
JOHN GRANT: Fontaine!
CUT TO:
[INT. WESTSIDE PSYCHIATRIC GROUP - LOBBY -- NIGHT]
[TOP VIEW OF LOBBY]
(SAMANTHA walks across the lobby.)
CUT TO:
[EXT. FONTAINE RESIDENCE -- NIGHT]
(The officers burst through the door.)
OFFICER: Freeze!
(They rush into the residence and check from room to room, looking for ALAN
FONTAINE.)
(In the back of the house, ALAN FONTAINE sees them and runs. JOHN tackles him
and they crash through the back window and fall onto the ground outside.)
(BAILEY walks up to them.)
JOHN GRANT: Going somewhere, Fontaine?
JOHN GRANT: Other arm! Other arm!
(JOHN reaches for the handcuffs at his waist.)
BAILEY MALONE: (dryly) You know, you can get hurt doing that.
(JOHN gets the handcuffs and starts to cuff FONTAINS. He looks up at BAILEY.)
(Camera holds on ALAN FONTAINE face pressed into the cold, hard ground.)
CUT TO:
[INT. WESTSIDE PSYCHIATRIC GROUP - RECEPTION -- NIGHT]
(SAMANTHA walks up to the Receptionist sitting behind the desk.)
SAMANTHA WATERS: Hi, um, I'm looking for Dr. Jawolski or Dr. Reuben. I realize
it's a bit late.
RECEPTIONIST: I'm sorry. They're not in.
SAMANTHA WATERS: My name is Sam Lawson. I'm with the FBI, and it's rather
important that I get in touch with them.
(Behind her, a FEMALE doctor approaches her.)
FRANCES BARRY: Well, maybe I can help you. I'm Dr. Frances Barry.
CUT TO:
[EXT. POLICE DEPARTMENT -- NIGHT]
(The police car is parked out front of the police station. They take ALAN
FONTAIN out of the back of the car and head to the police station. Out front is
a crowd of reporters clamoring for someone to answer their questions.)
REPORTER: Are we safe now?
BAILEY MALONE: No comment.
(A REPORTER follows BAILEY MALONE toward the front door, her mike in his face.)
REPORTER: Is this the man? Come on, is this the guy?
FLASH TO:
[INT. WESTSIDE PSYCHIATRIC GROUP - OFFICES -- NIGHT]
(SAMANTHA sits in the office with DR. FRANCES BARRY.)
SAMANTHA WATERS: You know, actually I was hoping I could speak with Dr.
Jawolski or Dr. Reuben. You don't have any way of getting in touch with them,
do you?
FRANCES BARRY: I do, actually. I can give you Dr. Jawolski's home phone
number. Dr. Reuben, I'm afraid, hasn't been here for over three months.
(She stands up and walks over to the desk.)
SAMANTHA WATERS: Where can I find him?
(She starts writing down the information for SAMANTHA.)
FRANCES BARRY: Well, that's a good question. He seems to have disappeared.
His family doesn't even know how to get hold of him.
(SAMANTHA nods.)
CUT TO:
[EXT. POLICE DEPARTMENT -- NIGHT]
(BAILEY walks up to the front doors and walks inside without saying anything.
JOHN turns around and tells the reporters.)
JOHN GRANT: We have a suspect in custody. That's all I've got to tell you at
the moment. As soon as we know more, we'll let you know.
[INT. POLICE DEPARTMENT - NIGHT -- CONTINUOUS]
(BAILEY follows the suspect and officers through the double doors and down the
hallway. The phone rings. The OFFICER nearest answers.)
OFFICER: (loudly) Uh, Malone, Bailey Malone. Phone.
(He hears his name and turns around.)
BAILEY MALONE: (to phone) Malone.
(As he listens to the person on the other end of the phone, his face changes
from boredom to alarm.)
CUT TO:
[INT. WESTSIDE PSYCHIATRIC GROUP - PARKING GARAGE -- NIGHT]
(The elevator door bell dings and the doors open. SAMANTHA walks out, heading
into the parking garage, her hand automatically digging into her purse for her
keys.)
(She hears the sound of a door closing. She stops to listen, then continues
toward her car.)
CUT TO:
[INT. POLICE DEPARTMENT - RECEPTION - NIGHT - CONTINUOUS]
(BAILEY ends his phone conversation.)
BAILEY MALONE: (to phone) Thanks.
(BAILEY hangs up. He looks at the officer behind the reception desk.)
BAILEY MALONE: You see Dr. Lawson?
OFFICER (WOMAN): (o.s.) No, sir.
(BAILEY turns around and addresses the hallway of officers milling about their
business.)
BAILEY MALONE: (loudly to the crowd) Anyone see Sam Lawson?
(Standing in the hallway is GEORGE FRALEY. He looks up and answers
automatically.)
GEORGE FRALEY: Yeah. She just called. She asked me to check out one of the
shrinks that Harrison sent the victims to. It's a Dr. Reuben, definitely M.I.A.
BAILEY MALONE: Where'd she call from?
GEORGE FRALEY: The Medical Complex.
(Without a word, BAILEY walks out of the building.)
CUT TO:
[INT. WESTSIDE PSYCHIATRIC GROUP - PARKING GARAGE - NIGHT -- CONTINUOUS]
(SAMANTHA walks up to her large old farm truck. She stands just outside the
door still looking for her keys when she's startled.)
LAWRENCE HARRISON: (o.s.) Dr. Lawson?
(SAMANTHA turns around and sees LAWRENCE HARRISON a distance away from her. He
makes his way toward her.)
LAWRENCE HARRISON: I startled you. Sorry.
CUT TO:
[EXT. POLICE DEPARTMENT - STREETSIDE - NIGHT - CONTINUOUS]
(BAILEY rushes out of the police department and into the crowd of waiting
reporters. He heads for his parked car. A reporter follows him hoping for a
comment. BAILEY ignores him, gets into the car and speeds off.)
CUT TO:
[INT. WESTSIDE PSYCHIATRIC GROUP - PARKING GARAGE - NIGHT -- CONTINUOUS]
(LAWRENCE HARRISON reaches SAMANTHA.)
LAWRENCE HARRISON: I saw you looking at my photographs.
SAMANTHA WATERS: Yes. They were, uh ... very interesting.
I think photography is an underrated art form. Don't you?
CUT TO:
[EXT. STREETS - NIGHT - COTINUOUS]
(BAILEY speeds through the streets toward the Medical Complex, his tires
screeching into the night, a sure sign of the panic he must be feeling.)
CUT TO:
[INT. WESTSIDE PSYCHIATRIC GROUP - PARKING GARAGE - NIGHT -- CONTINUOUS]
(BAILEY'S car enters the garage. He's still driving very fast. He rounds the
bend to where SAMANTHA and LAWRENCE HARRISON stand in front of her truck
talking.)
(He screeches the car to a halt, cuts the engine, gets out of the car, then
coolly walks over toward them. LAWRENCE HARRISON excuses himself.)
LAWRENCE HARRISON: Good night, Dr. Lawson.
(BAILEY watches him leave, then rounds on SAMANTHA.)
BAILEY MALONE: What the hell do you think you're doing?
(He grabs her by her forearms.)
BAILEY MALONE: You don't go anywhere without telling me, you got that?
(SAMANTHA struggles out of his grasp.)
SAMANTHA WATERS: Stop it! What is wrong with you?
(Flustered, BAILEY struggles to get ahold of his panic. His mouth works as he
tries to find the words, but nothing comes out. He stands there and stares at
SAMANTHA, he visibly tries to get control over his panic.)
(SAMANTHA really looks at BAILEY.)
SAMANTHA WATERS: Bailey, what is it, huh? What are you not telling me?
BAILEY MALONE: (quietly) I just need to know where you are.
(SAMANTHA stares at BAILY, truly seeing that BAILEY was in a panic. Then it
hits her.)
SAMANTHA WATERS: It's him. Isn't it? (pause) It's Jack.
BAILEY MALONE: He may have resurfaced.
(The longer she thinks about it, the more it makes sense. She starts putting it
together.)
SAMANTHA WATERS: How long?
BAILEY MALONE: Not here, not in Atlanta.
SAMANTHA WATERS: (angry) How long?!
BAILEY MALONE: We're not sure. I'm going to Quantico tonight to look at
another body.
(SAM looks down, tears in her eyes, betrayal on her face.)
BAILEY MALONE: Sam, I'm sorry. I should have told you.
(He reaches for her.)
SAMANTHA WATERS: You just-
(SAM brushes his hands aside.)
SAMANTHA WATERS: You get the hell away from me.
(Not wanting to say any more, she heads for the truck door, opens it and climbs
inside.)
BAILEY MALONE: I ... just didn't want to unnecessarily alarm you until we had
more information, Sam.
(SAMANTHA drives away leaving BAILEY standing in the middle of the empty parking
garage.)
CUT TO:
[EXT. ANGEL'S FARM - PORCH -- NIGHT]
(ANGEL walks toward the large doors, opens it and steps outside. SAMANTHA sits
on the tables and benches, thinking. Her hand covers her mouth, her eyes red
from crying.)
ANGEL BROWN: (quietly) Are you okay?
(SAMANTHA sniffs and wipes her runny nose with her sweater sleeve. ANGEL walks
up to SAMANTHA and gets close enough to get a good look at her. She sits down
in the seat next to her on the bench.)
SAMANTHA WATERS: I can't do this, Angel. I just--I just can't do this.
ANGEL BROWN: Look, you don't have to.
(She rubs SAMANTHA'S back.)
SAMANTHA WATERS: I know. I just -- I just want to -- just want to stay here,
and I never want to leave, and I never want to have to go back to that.
ANGEL BROWN: Fine. Then don't.
SAMANTHA WATERS: I mean, what kind of a life is that? I mean, what do I do?
What do I do? I chase sick, twisted ... you don't know what that does to you.
(ANGEL stands up and moves in front of SAMANTHA.)
ANGEL BROWN: Look, maybe I don't ... but I know you ... and so does Bailey. I
can't believe that he did this to you.
SAMANTHA WATERS: This is not about Bailey. Look, you have to understand that
he just -- he just can't stand by and let somebody die and not try to do
something to stop it, you know? I mean, that's just not in him. That's just
not who he is.
ANGEL BROWN: That's not who you are, either.
SAMANTHA WATERS: What are you talking about? I don't want to raise my child in
that world ...
ANGEL BROWN: Kids grow up and then they go out into that world.
CUT TO:
[INT. QUANITCO - HALLWAY -- NIGHT]
LEGEND:
FBI HEADQUARTERS
QUANTICO, VIRGINIA
(BAILEY MALONE follows the woman down the hallway toward Forensic Autopsy toward
the body.)
WOMAN: We had the Maryland coroner's office bring it straight here from the
scene. Nobody's touched it except to move it.
(She stops in front of a closed door and card swipes the security lock. The
lock beeps. She opens the door.)
[INT FORENSIC AUTOPSY]
(She puts on a latex glove and looks at BAILEY.)
WOMAN: He wanted us to find her Bailey. Had her laid out at 3rd and Maple like
a damn gift. She's only been dead about six hours.
(She reaches out and pulls aside the sheet from the body.)
(BAILEY steps forward and looks at the body. The WOMAN takes a forceps and
removes a folded piece of paper tucked into the victim's mouth. She holds it up
for BAILEY to look at.)
CUT TO:
(The piece of paper is opened and placed next to the other three pieces, the
last piece of the puzzle. Together, the four pieces form a square, cut
diagonally from the corners.)
WOMAN: Same as the other 3 victims.
(BAILEY stares at the four squares on the board. They turn off the lights and
turn on the black light. Under it, the invisible message appears:
I MISS YOU SAM.)
(BAILEY swallows.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. ANGEL'S FARM -- NIGHT]
(CHLOE dances in a circle with a pink glittery dress held up in front of her.
She shows it to SAMANTHA who sits in the chair, her thoughts far away.)
CHLOE WATERS: This one's pretty.
SAMANTHA WATERS: Mm-hmm.
(Next to CHLOE, ANGEL sits on the floor looking through other dresses.)
ANGEL BROWN: Ooh, ooh, look at this one. Look at how pretty this one is.
(CHLOE bounces over to ANGEL to look at the dress she's holding up.)
CHLOE WATERS: Mmm, it's not so pretty.
ANGEL BROWN: But look at how it catches the light and it kind of dances around.
CHLOE WATERS: That's just a little too short.
It's
(SAMANTHA sits there thinking.)
(Quick series of black and white flashes of the victims:
* A pretty blonde-haired girl holding up her Christmas presents and smiling at
the camera, a Christmas tree and television set behind her. Flash to negative
exposure of the picture.
* Negative exposure of a woman dead, her eyes wide open and mouth taped.
* Picture of a dark-haired woman smiling. Negative exposure of the picture.
* Negative exposure of a woman dead, her eyes closed and mouth taped.
* Picture of a sandy-haired woman looking at the camera. Negative exposure of
the picture.
* Negative exposure of a woman dead, her mouth taped.
* Picture of a dark-haired woman smiling over her shoulder at the camera.
Negative exposure of the picture.
* Negative exposure of a woman dead, her eyes wide open and mouth taped. )
(End of flashes. Resume to present.)
(As CHLOE and ANGEL continue to look through the dresses, SAMANTHA gets up from
her seat, goes into the next room and picks up the phone to make a call.)
SAMANTHA WATERS: (to phone) Hi, George. Uh, it's Sam Lawson. Listen, I want
you to check on something for me. I want you to see if Dr. Harrison referred
any other women to the Westside psychiatric group.
DISSOLVE TO:
[INT. POLICE DEPARTMENT - GEORGE'S OFFICE - NIGHT]
(GEORGE is on the phone with SAMANTHA.)
GEORGE FRALEY: (to phone) Just two. Stacey Driscoll and Walker Young are the
only others who saw both Harrison and one of the shrinks at the psychiatric
group.
DISSOLVE TO:
[SAMANTHA ON PHONE]
SAMANTHA WATERS: (to phone) Uh, yes, hello. Walker Young? Uh, yes. My name
is Sam Lawson. Um, listen, I know that this is a bit odd.
DISSOLVE TO:
[WALKER YOUNG IN KITCHEN ON PHONE]
(WALKER YOUNG is on the phone
WALKER YOUNG: (to phone) Yes, I saw both doctors. No. It's quite all right.
I'll be in all night.
DISSOLVE TO:
[SAMANTHA ON PHONE]
SAMANTHA WATERS: (to phone) Dr. Harrison referred seven women to the Westside
Psychiatric Group. Of those seven, five are dead.
DISSOLVE TO:
[JOHN ON PHONE LISTENING]
SAMANTHA WATERS: (to phone) Listen, I've tried to contact both of them.
DISSOLVE TO:
[SAMANATHA ON PHONE]
SAMANTHA WATERS: (to phone) I couldn't get ahold of a Stacey Driscoll, but I
was able to contact Walker Young, and I'm going to go over there tonight.
JOHN GRANT: Tonight?
SAMANTHA WATERS: John, it's Friday. If I'm right, we only have 24 hours.
INTERCUT WITH:
[INT. POLICE DEPARTMENT - NIGHT]
(JOHN is still phone the phone, he jots down the address on a piece of paper.)
JOHN GRANT: Ok, I'll meet you there at 8:00. 235 Tarrant.
(JOHN hangs up the phone and leans back in his chair.)
CUT BACK TO:
[INT. ANGEL'S RESIDENCE - NIGHT]
(SAMANTHA grabs her bag and rips the piece of paper off of the pad. She walks
back to the living room where ANGEL is hemming up the dress on CHLOE.)
SAMANTHA WATERS: Angel, this is where I'll be in case you need me, ok?
ANGEL BROWN: Ok.
(SAMANTHA holds out her arms and CHLOE jumps into them. SAMANTHA lifts her up
and holds her.)
SAMANTHA WATERS: Come here, you. Oh! (to CHLOE) Now, I have got to go to
Atlanta to see this lady, but I will be back before too late, ok?
CHLOE WATERS: Bring me treats?
SAMANTHA WATERS: Liver and collard greens?
CHLOE WATERS: Yuck!
SAMANTHA WATERS: Yuck.
(She kisses CHLOE and they hug.)
SAMANTHA WATERS: You be good, all right? Mind Angel. (to ANGEL) Thanks.
ANGEL BROWN: Okay. Take care.
(SAMANTHA leaves.)
CUT TO:
[INT. POLICE DEPARTMENT - FORENSIC AUTOPSY -- NIGHT]
(Camera opens on a red-haired woman on the table. GRACE pulls up the sheet to
cover her face. She turns to JOHN and NATHAN and fills them both in.)
GRACE ALVAREZ: Ok, take care. Same M.O., John. She's been dead a week.
NATHAN BRUBAKER: Family and friends thought she was out of town on vacation.
Nobody missed her until tonight.
JOHN GRANT: Could she have been killed last Saturday night?
GRACE ALVAREZ: I can't be that exact, but it's possible.
NATHAN BRUBAKER: Her sister found the body. She's outside if you want to talk
to her. Her name's Lanie Driscoll.
JOHN GRANT: Driscoll?
NATHAN BRUBAKER: That's right.
JOHN GRANT: What's the victim's name?
GRACE ALVAREZ: Stacey Driscoll.
(JOHN realizes that SAMANTHA was right. He heads for the door, rushing and
shouting to NATHAN over his shoulder.)
JOHN GRANT: Get a unit over to 235 Tarrant. Call Malone, get him back here!
CUT TO:
[EXT. STREET - NIGHT]
(BAILEY exits the car. There's a helicopter nearby. He climbs into the
helicopter.)
CUT TO:
[INT. WALKER YOUNG'S RESIDENCE - NIGHT]
(SAMANTHA walks up to the front door and rings the doorbell. She peers in
through the window and knocks directly on the glass.)
(Coming from the second floor, she hears glass shattering. She hears a thump on
the floor.)
(SAMANTHA looks around the porch and finds an open window, no screen, no glass
and large enough for someone to climb through. SAMANTHA climbs through the
window into the house.)
(She hears more glass shattering.)
(SAMANTHA reaches into her bag and takes out her gun. She loads a bullet in the
chamber and proceeds forward.)
(She slowly makes her way through the dining room toward the doorway. She
presses her back up against the wall.)
(Quick black and white flash to: The killer unrolls a piece of thick tape. End
of flash. Resume to SAMANTHA.)
(SAMANTHA swallows and proceeds forward.)
CUT TO:
[SECOND FLOOR]
(SAMANTHA slowly makes her way up the stairs. As she reaches the halfway
landing, she has another flash.)
(Quick black and white flash to: The killer takes ahold of the woman's arm.
End of flash. Resume to SAMANTHA.)
(SAMANTHA puts her bag down on the ground and continues up toward the second
floor. She moves faster.)
(Quick black and white flash to: The killer makes the first cut. Blood drips
on the bedsheet near the woman's arm. End of flash. Resume to SAMANTHA.)
(SAMANTHA reaches the second floor.)
(Quick black and white flash to: The woman is dead, her eyes wide open. End of
flash. Resume to SAMANTHA.)
(SAMANTHA reaches the first room, the door's ajar and the light is off. She
glances inside. Satisfied that's not the room, she moves on.)
(Toward the end of the hallway, the bedroom light is on. That's the room
SAMANTHA makes her way toward, bypassing the other closed doors along the way.)
(Quick black and white flash to: Close up of the dead woman's ear. Negative
exposure of an unknown picture. End of flash. Resume to SAMANTHA.)
(SAMANTHA approaches the doorway and sees WALKER YOUNG slumped on the floor,
both hands are tied up to the bedpost and her feet are bound. There's a blood
stain on the bedsheets.)
(SAMANTHA rounds the bedroom and slowly walks toward WALKER YOUNG.)
(SAMANTHA kneels down next to WALKER YOUNG and checks on her, first for a pulse.
She turns WALKER'S head toward her.)
WALKER YOUNG: (mumbling) S-stop. Stop.
(Satisfied that she's still alive, SAMANTHA tries to shush her.)
SAMANTHA WATERS: Ok. Shh. Shh. Shh. Shh. Shh.
(SAMANTHA stands up and steps away from WALKER. She heads for the door to look
for the killer.)
(SAMANTHA checks the next room.)
(The KILLER runs behind SAMANTHA, the floorboard creaking under her feet.)
(SAMANTHA swings around and follows.)
(The KILLER jumps out and hooks the cord in her hands around SAMANTHA'S neck.
They struggle.)
(SAMANTHA pushes back hard against the hallway wall enough for the Killer's hold
to loosen, then turns and tosses the Killer down the stairs. The KILLER rolls
down to the landing below.)
(Freed, SAMANTHA picks up her gun and chases after the killer who is just
getting up. SAMANTHA grabs the killer by the upper arm and turns her around.)
SAMANTHA WATERS: Don't move.
(It's FRANCES BARRY. She's dressed in a man's dress shirt, pants and tie.)
(Getting a good look, SAMANTHA realizes who it is.)
SAMANTHA WATERS: Dr. Barry.
CUT TO:
[EXT. WALKER YOUNG'S RESIDENCE -- NIGHT]
(Police officers and other emergency personnel crowd the front lawn of the
house. Sirens blare in the background. NATHAN and JOHN escort FRANCES BARRY
out of the house in handcuffs. They head toward the Police Car waiting for her.
They open the door and put her inside.)
NATHAN BRUBAKER: Watch your head.
(Inside the car, the shut the door.)
(JOHN makes his way toward SAMANTHA.)
JOHN GRANT: You ok?
SAMANTHA WATERS: Yeah.
JOHN GRANT: (partially relieved) Good. That's good. (but, still) Listen, I,
uh ... I'm sorry I wasn't here. I didn't realize.
SAMANTHA WATERS: Yeah, me, neither. I guess she changed her pattern from
Saturday to Friday. Lucky me.
JOHN GRANT: I was at the morgue. Fifth victim. You were right.
SAMANTHA WATERS: Stacey Driscoll?
(He nods. His face full of regret. SAMANTHA nods and turns to look aside.)
(A car pulls up. BAILEY gets out of the car and heads for her.)
BAILEY MALONE: Sam!
(SAMANTHA turns around and looks at BAILEY. He looks down at her, amused that
she was the one who actually apprehended the killer and also knowing that she's
still reeling from the experience.)
BAILEY MALONE: (lightly) You don't do this part. I do.
SAMANTHA WATERS: (counters) So where were you, huh?
(And that's the gist of it. When the chips were down, she had to face it alone.
He looks at her and smiles. He moves forward and takes her in his arms. She
holds on to BAILEY.)
DISSOLVE TO:
[EXT. ANGEL'S FARM - LAKE - EVENING]
(SAMANTHA sits alone on the wooden bridge overlooking the lake. Alone. And
Thinking.)
CUT TO:
[INT. BEN'S BAR - NIGHT]
(SAMANTHA and BAILEY sit side by side on the counter nursing their drinks.)
SAMANTHA WATERS: So where is Dr. Barry now?
BAILEY MALONE: Still in psychiatric evaluation.
SAMANTHA WATERS: She probably had a domineering mother who abused her for never
being pretty enough.
BAILEY MALONE: First time mommy took her to plastic surgery--
SAMANTHA WATERS: mm-hmm?
BAILEY MALONE: She was 11 years old.
BEN: (o.s.) Congratulations.
(Interrupting, BEN moves toward them behind the bar. SAMANTHA looks at BEN.)
BEN: (pleased) You sold a picture.
(He slips the envelope of money toward her. She glances inside.)
BEN: Some dealer in Virginia.
SAMANTHA WATERS: (surprised by the amount) Just one? There--there's $1,000 in
here.
BEN: (chuckles) Guess you got a fan.
(He moves along. BAILEY listens, pleased.)
BAILEY MALONE: So you haven't just been hanging out on the farm?
SAMANTHA WATERS: Well, a girl's got to make a living.
BAILEY MALONE: (very serious) Jack's going to know what you're doing.
SAMANTHA WATERS: My hiding out won't stop him.
BAILEY MALONE: I never should have brought you in on this in the first place.
SAMANTHA WATERS: Oh, please. Don't be so arrogant. What, you think that you
are the cause and solution for everything?
BAILEY MALONE: Yes, I do. So how do you want this to work?
(He takes a sip of his drink.)
SAMANTHA WATERS: Let's go ahead and form the Task Force. Now, my personal life
stays strictly confidential, or the deal is off.
DISSOLVE TO:
[EXT. ANGEL'S FARM - DAY]
(SAMANTHA, ANGEL and CHLOE have a picnic on the grass near the lake. DENZEL
lies on the grass near them.)
SAMANTHA WATERS: (v.o.) I have a say in the cases we investigate, and they
give me anything I want, no questions asked.
DISSOLVE TO:
[INT. JACK'S PLACE -- NIGHT]
(Camera opens on SAM'S photo, the one she just sold. The camera moves along the
counter. Next to the photo is a pair of thick latex gloves.)
(The camera continues to move along the table and onto an article about the case
just solved. A right hand wearing a ring and holding a fountain pen, writes on
the newspaper article in special ink unseen under normal light. The article
reads: )
"STRING OF MURDERS IN ATLANTA SOLVED"
(JACK finishes writing and turns on the black light above. The hand-written
message reads:
"Sam you've come back to me"
FADE TO BLACK.
==========================
THE END
==========================
[Captioning made possible by court tv captioned by the national captioning
institute --www.Ncicap.Org--]
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Contact the Transcriptionist at (intrepidly002@yahoo.com)
Please do not archive this transcript without permission from the
transcriptionist.
==========================
TITLE/OPENING CREDITS
==========================
PROFILER
1X01: PILOT
ORIGINAL AIR DATE ON NBC: 09/21/1996
TRANSCRIBED FROM DVD
ALLY WALKER as Dr. Samantha "Sam" Waters
ROBERT DAVI as Agent Bailey Malone
JULIAN McMAHON as John Grant
ROMA MAFFIA as Grace Alvarez
MICHAEL WHALEY as Nathan Brubaker
PETER FRECHETTE as George Fraley
ERICA GIMPEL as Angel Brown
CAITLIN WACHS as Chloe Waters
Created by: CYNTHIA SAUNDERS
Executive Producers: IAN SANDER
Executive Producers: KIM MOSES
Guest Starring:
LEE GARLINGTON
GARY ANTHONY WILLIAMS as Ben
TERRY BEAVER
JUDSON VAUGHN
LIBBY WHITTEMORE as Dr. Frances Barry
Producer: TOM LUSE
Supervising Producer: CYNTHIA SAUNDERS
Written by: CYNTHIA SAUNDERS
Directed by: JOHN PATTERSON
==========================
END CREDITS
==========================
Sanders/Moses Productions
NBC Studios
NBC Enterprises
Associate Producer: CATHY FRANK
With
CAROL MARTIN as Catherine Windsor
MELISSA McBRIDE as Walker Young
JOE WASHINGTON as TV Reporter
PATTY MACK as Lab Technician
ANDERSON MARTIN as Bill Fontaine
ELAINE WADSWORTH as Receptionist
EADDY W. THOMAS as Desk Sergeant
Casting: ANTHONY BARNAO
Casting: SHAY BENTLEY-GRIFFIN (Atlanta)
Director of Photography: KEES VAN OOSTRUM
Production Designer: CHARLES BENNETT
Editor: MICHAEL KEWLEY
Main Title Theme: ANGELO BADALAMENTI
Music by: WENDY BLACKSTONE
Unit Production Manager: TOM LUSE
First Assistant Director: HOARD McMASTER
Second Assistant Director: JIM WEIS
Camera Operator: BRIAN GURLEY
First Asst. Cameraman: JOE THOMAS
Dolly Grip: MICHAEL FEDAK
Production Sound Mixer: BRIT WARNER
Boom Operator: BEN WARNER
Location Manager: MAIDA MORGAN
Gaffer: TULLY McCULLOCH
Key Grip: EDDIE EVANS
Construction Coordinator: PAUL HUGGINS
Transportation Coordinator: TEDDY RITCHIE
Script Coordinator: LONNIE R. SMITH, JR.
Costume Designer: INGRID PRICE
Costume Supervisor: LINDA BRENICK-GRUSKIN
Set Decorator: KATIE PINHOLSTER
Property Master: DWIGHT BENJAMIN-CREEL
Make-up Artist: VIVIAN BAKER
Hair Stylist: TAYLOR KNIGHT
Production Coordinator: ALISON DEEN FIBBEN
Script Supervisor: LEXIE LONSTREET
Extra Casting: CYNTHIA STILLWELL
Executive Producer's Assist: NICHELLE M. FROTHO
Da Vinci: RICK DALBY
Online Editor: JAMES SPACH
Supervising Sound Editor: DAVID HANKINS
Assistant Editor: DANA SHOCKLEY
Music Editor: NINO CENTURION
Re-Recording Mixers: DENNIS KIRK / ELMO PONSDOMENECH
Main Title: SUZANNE KILEY
Special Thanks to: CITY OF ATLANTA, GEORGIA
The characters and events depicted in this program are fictional. Any
similarity to actual persons, living or dead, or to any actual events is
coincidental and unintentional.
Executive in Charge of Post Production: JOSEPH DERVIN, JR.
(c) 1996 National Broadcasting Company, Inc. All rights Reserved.
Executive in Charge of Production: JOHANNA PERSONS
==========================
DVD DISCLAIMERS:
==========================
(c) 2003 NBC, Inc. All Rights Reserved. Art and Design (c) 2003 A&E Television
Networks. All Rights Reserved. Marketed and distributed in the U.S. by New
Video. NBC and the Peacock Design are Registered Trademarks of the National
Broadcasting Company, Inc. Profiler, its characters and related Trademarks are
Property of NBC Studios, Inc.
aetv.com
Dated: 09/13/2003~lky
http://www.webphilia.com/~anthology/wnp.html