PROFILER
1X02: RING OF FIRE
ORIGINAL AIR DATE ON NBC: 09/28/1996
TRANSCRIBED FROM DVD
Written by: NANCY MILLER
Directed by: PETER O'FALLON
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: The Violent Crimes Task Force investigate a series of arsons.
Meanwhile, Jack leaves Samantha a special gift on the farm.
==========================
PROFILER
1X02: RING OF FIRE
==========================
COLD OPEN:
[INT. JACK'S HOUSE]
[CAMERA SLOW MOTION]
(Scene opens on a top view looking down into a room. Hanging from the ceiling,
drying, are dozens on individual red roses. In the far corner of the room,
there are a half dozen lit candles. The window curtains are pulled closed.)
(Camera moves down to show a man in a black tank top and a baseball cap that
covers his face looking down at the table cutting out a newspaper article of the
"STRING OF MURDERS IN ATLANTA SOLVED".)
(There are red rose petals on the table.)
(He cuts the article out from the newspaper.)
INTERCUT WITH:
[EXT. -- NIGHT]
(A helicopter lands.)
(Cut to: Top view looking directly down at JACK sitting at his worktable.
Using a forceps to hold a needle, he heats the tip of the needle up till its red
hot by holding it against the burner.)
(When the needle cools, he plunges it into the tip of his left index finger.)
(Cut to: The helicopter lands in front of someone's lawn.)
(Cut to: JACK drips his blood onto the newspaper clipping with the message on
it: SAM, YOU'VE COME BACK TO ME.)
(Cut to: The helicopter door opens and SAM gets out. She shuts the door and
makes her way across the lawn.)
(Cut to: JACK places a single red rose in the middle of the cut newspaper
article.)
CUT TO:
[EXT. STREET - DAY]
(Camera close up of a statue. The rain hits the statue. Beyond the statue, a
yellow cab stops on the side of the road. A man dressed in black gets out of
the cab. The camera follows his feet. He shuts the cab door. The camera moves
up, but the couple standing in front blocks the view of who he is.)
(At the mail box, the MAN in black takes out an envelope, presses his lips to
the back of the envelope to seal it with his kiss before he mails it.)
(The MAN returns back to the yellow cab waiting for him on the side of the road.
He gets into the cab and closes the door. We never get to see his face.)
(The cab drives off.)
(Minor notes: The Taxi is from the Yellow Cab Co. The phone number on the side
of the cab is 555-0180. On the side of the door of the cab is a sign of its
rates charges: $1.50 (Initial Charge), .25 per 1/5 mile; .50 per minute stopped
or slow traffic; .50 Night surcharge. The notice under the passenger door
handle reads: "Drive carries $5.00 in change".)
CUT TO:
[EXT. -- NIGHT]
(SAMANTHA walks across the lawn. The helicopter behind her takes off.)
INTERCUT WITH:
[JACK'S HOUSE]
(Top camera view down of the door as it opens. JACK walks into the room. He
takes the key out of the lock and shuts the door. He puts the keys on the table
next to the door, takes off his baseball cap to show his light colored hair.)
(Cut to: SAMANTHA walks toward the camera and off screen. The sounds of the
helicopter in the background.)
(Cut to: JACK gets into bed and pulls the covers high above his head. He looks
up at the ceiling, a mosaic of hanging dead red roses in a bed of black and
white photos interspersed with colored photos in a pattern.)
(The camera moves past the roses to the photos. And in a series of cuts, the
camera zooms in close to show that every single photo is of SAMANTHA.)
FADE OUT
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
[EXT. BUILDING ON FIRE -- NIGHT]
(A building is on fire. Various scene cuts of fire personnel and other
emergency and investigative personnel stand outside the blaze range. The fire
consumes the residence as Firemen try to put it out. Sirens are heard in the
background. Camera focuses on the second floor room window up in flames.)
DISSOLVE TO:
[EXT. BURNT HOUSE - DAY -- LATER]
(The camera opens on the burnt house focusing on the second floor window. The
fire is extinguished.)
(Camera refocuses on the back of a woman carrying a camera. She snaps a photo.)
[EPISODE TITLE: RING OF FIRE]
[QUICK FLASHES]
(Series of three quick photo flashes of the burnt house.)
CUT TO:
[INT. BURNT HOUSE -- DAY]
(Investigative personnel walk through inside the burnt building.)
CUT TO:
[EXT. BURNT HOUSE -- NIGHT]
(SAM walks outside along the lawn. We can hear BAILEY talking with someone. He
looks up, sees her and calls out to her.)
BAILEY: (o.s.) (to JOHN) Try to bag some of the accelerant out of the dirt in
the back.
(SAM looks around at the building from the outside. JOHN steps away and
leaves.)
BAILEY: Sam.
(SAM turns around to see BAILEY headed toward her. He leads her into the
house.)
BAILEY: Six fires in the last month. All residential homes. Five people dead.
[INT. BURNT HOUSE - NIGHT -- CONTINUOUS]
BAILEY: (continuing) Here, we've got a B&E. One victim: 70-year old male,
widower.
(SAM looks around. BAILEY turns on his flashlight and they continue forward
through the burnt house.
SAM: All the fire set in St. Louis?
BAILEY: No. Two here, two in Nashville, two back in Atlanta. No connection
between the victims. Just between the scenes.
SAM: What is that?
BAILEY: How he sets the fires. It's in the kitchen what's left of it.
(They turn around, looking around at the damage.)
JOHN: Hey, Bailey.
(They turn around to find JOHN and NATHAN kneeling and looking at something in
front of them.)
JOHN: Take a look at this. Looks like he spent some time here it smells like
gasoline.
(JOHN stands up and shows them the area. Something else catches SAM'S eyes.)
SAM: What's that?
NATHAN: Looks like tissue paper. Dog didn't hit on it, but I'll bag it anyway.
(Quick flash to: The Arsonists kneels down and uses a lighter to light the
candle. End of quick flash. Resume to present.)
NATHAN: Cigarettes, too?
(He looks up at SAM who is deep in thought. She realizes that he's talking to
her and snaps out of it to look at NATHAN.)
(She nods her head, then turns to BAILEY.)
SAM: I'm going to take a look around, ok?
(She walks past then and heads back into the house. BAILEY and JOHN watch her
leave.)
BAILEY: Bag that whole section.
(BAILEY continues to keep an eye on SAM, JOHN turns back around.)
CUT TO:
[INT. BURNT HOUSE - NIGHT -- CONTINUOUS]
(SAM steps into what used to be the living room. She looks around and notices a
few things: The burnt and melted pictures, trophies and photos lining the
fireplace mantle.)
(Quick flash to: The camera rapidly moves backward to show the contents of the
fireplace mantle in tact before the fire. End of quick flash. Resume to
present.)
(SAM turns away and moves on.)
(She finds GRACE working outside.)
SAM: Grace.
GRACE: Sam. This will break your heart. Toy soldiers.
(GRACE shows SAM the piece.)
SAM: The victim was 70 years old.
GRACE: Grandchildren?
(Quick flash to: Pieces of red-colored toy soldiers fall to the grass. End of
quick flash. Resume to present.)
(Without saying anything, SAM turns and walks away.)
(Cut to: BAILEY holds up a plastic bag with something furry and dead inside.)
BAILEY: Here's the incendiary device.
SAM: A rat?
BAILEY: Six homes, six dead rats.
JOHN: Lighting the candle gives him time to get away.
SAM: How did it get in?
JOHN: Through the back door.
GRACE: Can you smell the accelerant? He soaked the entire kitchen.
BAILEY: What do you make of these rats?
JOHN: It doesn't matter if it's a wick or a rat. I mean, gasoline's the cause
of the fire.
GRACE: Look.
(GRACE holds up the black light up to the ceiling and portions of the ceiling
glow in globs.)
GRACE: The glow is where he threw accelerant.
(SAM looks up at GRACE as she circles the kitchen. She turns and looks at
BAILEY. BAILEY catches the look.)
SAM: Overkill.
(He puts the bagged rat on the table.)
CUE SOUND: HELICOPTER
CUT TO:
[EXT. POLICE DEPARTMENT - STREET - NIGHT]
[INT. POLICE DEPARTMENT - MAIN MEETING ROOM -- NIGHT]
(Camera opens on a map of the area on the computer monitor. On the bottom left
hand corner, the computer runs through a database. JOHN walks across the main
office reciting his thoughts on the case.)
JOHN: Ok ... so he set two fires in each city, but never two in a row, which
means that he's traveling, right?
(JOHN walks up to the monitor and points to it.)
JOHN: Highway 65 runs from Atlanta to Nashville to St. Louis.
NATHAN: So what's his connection to those cities?
JOHN: His job.
SAM: No, I don't think he has a job. This guy has a lot of free time, he might
even be on disability, or --
JOHN: Ok, so, uh, how's he get around? The bus? Carrying a can of gasoline?
(NATHAN laughs. BAILEY doesn't.)
SAM: Well, if he does own a car, it's probably something old and inexpensive,
like a bug.
BAILEY: Go on, Sam.
SAM: Well, he likes to play with fire, so he may have been burned, so I think
we should look for some sort of disfigurement. Um, he's probably a white male,
20 to 40, high school dropout, he could have a history of substance abuse, and
he likes to watch his fires ignite, so we know that he's nocturnal.
(As she speaks, GEORGE watches her with amazement, his jaw open; JOHN takes a
sip of water, not really paying attention to her. NATHAN scoffs.)
NATHAN: Ah, you can get all that from looking at a rat?
BAILEY: (smoothly) As well as statistics, experience, and six long years of
training.
SAM: Arsonists generally fit a profile, just like every other criminal. I
mean, this is all preliminary. It will change as we go along.
(GRACE takes her seat at the table.)
BAILEY: It's a damn good place to start. Enter it into the data base we've got
on arsonists. Let's check out these news footage of the fire scenes.
SAM: (thinking) Pyromaniacs are the ones who do it for the thrill. They're
the ones you're going to find in the crowd scene, and ... I don't think this guy
is a normal arsonist.
JOHN: Isn't that an oxymoron?
(NATHAN laughs.)
BAILY: (slowly getting annoyed) What about the symbolism of the rats? To some
cultures, the rat is sacred.
SAM: I don't know. It could be some part of a ritual that he does. There is a
lot of anger at these scenes.
JOHN: (o.s.) No kidding.
(GEORGE finishes up entering the data and looks at the monitor. He interrupts
the conversation. As he narrates, the monitor on the wall puts up a schematic
of the most recently burned house.)
GEORGE: Ok, the red figures are where the bodies were found, flames are where
the fire started.
(On screen, the monitor reads:
VCTF SEARCH:PARAM {SPEC}
Real Time Arch or v 22.0
5EOMAP: A287 X K 156
BURST ANALYSIS: PROCESSING ...
CORE TEMP ESTIMATE:376+
DRAWL/JUMP DEVIATION .004
FIRE NO. 3 )
(The monitor simulates the pattern of the fire on the outside of the house
schematic.)
GEORGE: The first three, he started outside, trailing gasoline around the
house, then he started getting inside and soaking different rooms.
SAM: George, this third fire, he put accelerant on the fence?
GEORGE: Completely soaked. I mean, this guy last night must've been overcome
by smoke. He almost made it out. They found his body two feet from the back
door.
BAILEY: We'll be able to tell a lot more from the autopsy. I don't see any
connection, do you?
SAM: (leafs through the file) Uh, well, there's no obvious connections between
the victims. I mean we have three races, five different religions, male,
female, the oldest was seventy, the youngest, twenty-eight.
JOHN: Exactly the same with the houses. Different years, architecture, located
in different areas ...
SAM: Maybe there's something in the addresses. George, can you run a
numerology check? I think it's really important right now to get as much on the
victims as possible. I would like to get aerial photographs of the
neighborhoods.
NATHAN: All right.
(Quick flash to: Black and white image of a hand holding a white plastic toy
horse. End of flash. Resume to present.)
SAM: None of these homes had children, did they?
GRACE: No.
SAM: Where's the physical evidence from the fires?
GRACE: It's in the lab. Come. I'll show you.
(GRACE and SAM both stand up to go to the lab. On the monitor as they leave, on
the monitor, the burst analysis for "FIRE NO. 7" is on screen.)
CUT TO:
[INT. VCTF - LAB -- CONTINUOUS]
(GRACE and SAM sit at the lab table opposite each other. SAM digs into her bag
and pulls out a hair clip to put up her hair.)
GRACE: The chemical characteristics and properties in the samples from the
scene, I think, are going to be normal, everyday gasoline to match the other
five. I tested the tissue, there's no accelerant.
(After receiving no comment, GRACE looks up at SAM who is still busy trying to
get her hair up in a knot. GRACE pushes the bottles on the shelf between them
aside and looks at SAM.)
GRACE: Hello ... ?
SAM: It's the twisting that's so distinct. Where are the toy figures from the
fourth fire?
GRACE: Well, I guess they weren't collected. Arson scenes are the worst. If
the evidence isn't burned, firemen either trample it, they hose it, whatever.
SAM: Well, Could you check the fourth and fifth fires for the same type of
plastic residue?
GRACE: Wasn't there a survivor? Why not just ask him?
SAM: Yeah, well, I tried, but his wife died in the fire, and he wasn't really
interested in dealing with the FBI, so ...
GRACE: Yeah, well ... I guess I don't blame him.
(Without really realizing the impact of her comment, GRACE agrees.)
GRACE: I don't know what I'd do if something happened to my husband.
(SAM stares at GRACE.)
SAM: (quietly) How long have you been married?
GRACE: Twenty-two years. High school sweetheart. Love of my life. Father of
my three poodles.
(GRACE laughs. SAM gives a cursory chuckle, but her face reveals the hurt as
she thinks about her own husband.)
GRACE: (continues) Here, why don't you take a look at the autopsy protocol of
our last victim?
(She hands a file through the shelf to SAM who takes it.)
GRACE: (continues) The others died in their sleep. Smoke inhalation.
(SAM gathers her things and stands up.)
SAM: Great. Well, thanks.
GRACE: Ok. Get some rest, you.
CUT TO:
[INT. VCTF - MAIN OFFICE -- CONTINUOUS]
(SAM walks back into the main office. BAILEY follows her in through the door.)
BAILEY: Sam.
(SAM is looking through a file in her hand.)
SAM: Hi. Look at this. Did you know that the last victim was unconscious
before the fire? Blunt force trauma to the head.
BAILEY: Well, maybe he woke up, startled him, and -
SAM: Y
eah, but he didn't kill him. He was more interested in the fire. Did you happen
to get the aerial photo -
(Anticipating, BAILEY smiles and holds up a file folder.)
SAM: Oh, great.
(SAM grabs the file from him and hands him hers.)
BAILEY: Yeah, all the houses were within walking distance of a church. Well-
kept, nice neighborhoods.
SAM: The perfect place to live. Maybe he's destroying perfection.
BAILEY: Guess I better lock my doors.
SAM: I think that you can rest easy, Bailey. You know what I don't understand
is what he is doing with rats.
BAILEY: Well, they're dirty, disgusting ... what's that saying, then? "When
the world ends all that will be left are rats and cockroaches." Maybe he sees
himself as indestructible.
SAM: Or just dirty and disgusting. His next step is going to be critical.
BAILEY: Think he's going to step up the pace?
SAM: I don't know. I mean, he set two fires in each of the cities. I'm
waiting to see if he moves to another city -- I don't know. I cannot get a
handle on this guy.
BAILEY: You will. You've got a good team, Sam. Focus the investigation.
They're here to follow your lead.
(BAILEY reaches into his pocket and takes out a legal-sized envelope. He hands
it to SAM.)
BAILEY: This came for you, care of me.
(SAM looks at it with a puzzled look on her face. She holds it in her hand,
then walks away. BAILEY takes a sip of his coffee mug and watches her.)
CUT TO:
[INT. VCTF - SAM'S OFFICE -- CONTINUOUS]
(SAM walks into her office and puts the file down on the desk, her attention
focused on the white envelope in her hand. She flips it over and opens it.)
(BAILEY quietly walks into the office behind her and watches her open it.)
(SAM takes out the newspaper article and opens it. The headline reads: STRING
OF MURDERS IN ATLANTA SOLVED. On the newspaper article there are blood
drops.)
(SAM stares at the article.)
BAILEY: Jack.
(BAILEY takes out a tissue from the box on the desk and takes the newspaper
article from SAM.)
BAILEY: I'm taking this to Grace.
(BAILEY heads out the door. SAM doesn't say anything. She simply nods.)
(Worried, SAM picks up the phone and dials.)
INTERCUT WITH:
[EXT. ANGEL'S FARM - DAY]
(ANGEL is out in her yard with what looks like a metal sander of sorts. She's
working on her sculpture. DENZEL sits on the ground quietly near ANGEL while
CHLOE lies on the top platform of the jungle gym set on her back, her hair
hanging over the side.)
(The phone rings.)
(CHLOE reaches over and grabs the phone right next to her and answers it.
DENZEL barks.)
CHLOE: (to phone) Hello.
SAM: (to phone) Hi, sweetie. It's mommy.
CHLOE: (to phone) We just watched this really cool cartoon about lions ... and
Denzel barked at the tv.
SAM: (to phone) Uh, listen. I need to talk to Angel for a second, okay?
CHLOE: (to phone) mm-hmm.
SAM: (to phone) And Chloe ... I love you.
CHLOE: I love you, too, mom.
(CHLOE sits up on the platform and calls out to ANGEL.)
CHLOE: Angel.
(ANGEL can't hear her.)
CHLOE: (yells) Angel!
ANGEL: (yells) What?
CHLOE: (yells) The phone.
ANGEL: (yells) Who is it?
(ANGEL turns the metal sander machine off and puts it down.)
CHLOE: (holds out the phone) My mom!
(ANGEL heads for CHLOE and takes off her goggles before reaching for the phone.)
ANGEL: Hello.
SAM: Hi. Umm ... is everything ok?
ANGEL: Yeah. Everything's fine. Why?
SAM: No reason. You ... you didn't get anything weird in the mail today, did
you?
ANGEL: No. What's going on?
SAM: Nothing. Nothing. It's just this case. You know how I get, uh ...
(JOHN walks into the office, raises a hand to knock on the door, sees SAM inside
and freezes. SAM sees JOHN and wraps up the phone call.)
SAM: (to phone) ... um, look, Angel, I'm going to have to call you back, so
give Chloe a kiss for me, ok? Bye.
ANGEL: (to phone) Bye.
(ANGEL hangs up the phone and shakes her head at SAM'S strange behavior. She
walks over to CHLOE who has gone back to lying on the top platform with her hair
hanging down over the edge.)
ANGEL: Come here.
(CHLOE sits up as ANGEL climbs up the wooden stairs.)
ANGEL: This is from your mom.
(ANGEL gives CHLOE and kiss and a tight hug. CHLOE giggles.)
CUT BACK TO:
[INT. VCTF - SAM'S OFFICE - DAY -- CONTINUOUS]
(JOHN walks into the office.)
JOHN: Who's Angel and Chloe?
SAM: My roommate and my daughter.
(SAM walks away from her desk and over to the filing cabinet. JOHN walks over
to the desk.)
JOHN: (fishing) You, uh ... you live with a woman?
(SAM turns around.)
SAM: Yeah.
JOHN: (smiles) Yeah?
SAM: Yeah. For three years.
JOHN: (more fishing) "Alternative lifestyle kind of thing," right?
SAM: A "need a place to stay" kind of thing, and my best friend bailed me out.
(changes subject) Did you need something?
JOHN: We're working with George narrowing down the list of possible suspects
from the profile you gave us, and, so far, we've got it down to 112.
(JOHN turns around and sits down on the couch. He hits the couch arm rest
twice.)
JOHN: (mutters enviously) I should have known you'd have a couch in your
office.
(He chuckles, somewhat.)
SAM: What about the victims?
JOHN: Nath and I are going to hit the streets, go banging on some doors. You
want to tag along, see some real police work?
SAM: Uh, no, thanks. I'd just slow you down dragging that couch everywhere.
(Outside in the hallways there's a commotion going on. BAILEY pops into the
doorway.)
BAILEY: We've got another fire. Get there while the scene's still hot.
(JOHN'S already on his feet and out the door.)
JOHN: You bet.
(He leaves. BAILEY walks in and heads for SAM.)
BAILEY: We'll videotape everything, get it right back here for you to see.
SAM: Yeah, it's not the same.
BAILEY: The press is going to be all over this. You can't take the risk.
(SAM turns away, unsatisfied with the answer although she knows that it's true.)
BAILEY: If you want, you can take a walk-through tomorrow when everything's
quiet.
(BAILEY turns to leave the room and walks out of camera frame.)
SAM: (grudgingly agrees) Yeah. All right.
(BAILEY'S hand and arm breaks back into the camera frame. He points at her.)
BAILEY: (reminding her) This is what we agreed on.
SAM: Yes, I know.
(But still, she doesn't have to like it.)
HARD CUT TO:
[EXT. BURNING HOUSE -- NIGHT]
(Quick flashes of various scenes of the fire being fought:
* Red flashing lights from the fire trucks;
* Blue flashing lights from the Atlanta police cars;
* Red flames from the fire as it burns out through the second story windows;
* Red and yellow uniforms of the fire fighters putting on their gear, getting
ready to fight the fire
* Fire fighters pulling the hose from across the street toward the burning
house / Fire fighters bracing themselves on the ground as they hold the hose to
fight the fire / water streaming from the hose toward the house
* Various external views of the fire
* The media standing just beyond the crime scene tape recording the fire;
* Various external views of the fire.)
REPORTER: (b.g.) The fire fully engulfed this residential ...
(JOHN and NATHAN walk up to the SUV parked on the side of the road. BAILEY gets
out of the vehicle and the three of them head for the house.)
JOHN: I don't know about you, but this guy's starting to get to me.
BAILEY: Just play it out, all right? Any casualties?
JOHN: No. They went to the movies.
BAILEY: Nathan, start a k-9 search of the neighborhood.
NATHAN: All right.
BAILEY: Coordinate a canvas. Three-block radius.
NATHAN: Okay.
(NATHAN turns to walk away. BAILEY turns around and points to NATHAN.)
BAILEY: I want all the information filtered through you.
(NATHAN leaves. JOHN continues to walk next to BAILEY.)
BAILEY: That's some barbecue.
JOHN: It sure is.
BAILEY: Where's Grace?
JOHN: Here, here.
(JOHN points to GRACE kneeling down on the ground looking at something. They
stop in front of her. BAILEY looks down at GRACE.)
BAILEY: Anything interesting?
GRACE: Yeah, if you're religious.
(GRACE stands up and hands BAILEY the baggie she's looking at. BAILEY looks
down at the plastic bag and turns.)
BAILEY: I'm going to call Sam.
(BAILEY hands the bag back to GRACE and starts to run to the nearest phone.)
(JOHN looks down at the plastic bag.)
JOHN: It's the 23rd psalm.
GRACE: (dryly) Thank you, Sherlock.
JOHN: That's sick.
(Camera holds on the burning house.)
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[EXT. ATLANTA, GEORGE - CITY SKYLINE (STOCK) -- DAY]
LEGEND: ATLANTA, GEORGIA
[INT. VCTF - LAB -- DAY]
(GRACE puts her things down on the table and sits down just as BAILEY walks into
the lab holding the baggie of melted toys.)
BAILEY: John and Nathan are running down the toys. They're probably sold in
hundreds of stores between here and St. Louis.
(SAM sits on the chair on the other side of the lab. Thinking. The camera
sweeps in across the room toward her as GRACE speaks.)
GRACE: And the samples from the kitchen areas of four and five both tested
positive for the same type of plastic residue.
(SAM has several quick and intermittent flashes:
* Black and white old grainy view of fingertips rubbing against tired eyes;
* Black and white view of the title page of the HOLY BIBLE (containing the Old
and New Testaments) in the King James Version;
* Fingers ripping out the page from the bible.)
BAILEY: Why weren't these inside?
(SAM continues to have several quick and intermittent flashes:
* Fingers rolling a ball of yellow ear wax;
* Close up of an ear with three pierced earrings in the lobe and fingers
stuffing the ear wax into the ear. )
SAM: Did you check the bible pages for ear wax?
GRACE: No. I checked for fingerprints, and they were clean. (puzzled) Ear
wax?
(SAM stands up and motions with her hands as if twisting something into her ears
as she tries to explain.)
SAM: Well, uh...it's like he's trying to ... drown out the noise in his head.
(She turns around and slowly starts to pace the room walking around the lab
table toward BAILEY and GRACE.)
SAM: But what is the noise? (pause) What is he trying to silence? (thinking)
The sound of the fire? (answer) No. He loves the fires. (thinking) Maybe ...
BAILEY: So he twists the paper, sticks it in his ears. Voices from god.
(SAM turns around in her pacing and starts walking away from them.)
SAM: No, not necessarily. I mean, last time, he used normal tissue. Maybe
this time he was reaching out for help, asking god to stop the voices.
BAILEY: We'd better check mental institutions.
(Something strikes her as different. She turns around and heads back to GRACE
and BAILEY.)
SAM: This is the first house with kids, isn't it?
GRACE: Hmm-hmm.
SAM: He may have been waiting for the family to leave. That frustrated him.
The point of origin was the garage?
BAILEY: Yeah. The family left their door open. He put the rat right on top of
the baby stroller. The corruption of innocence.
SAM: Corruption of his innocence maybe. He makes the perfect ... imperfect.
BAILEY: So he puts the symbol of disgust on top of the symbol of family.
(Quick flash to: Black and white view of a little boy playing with his toy
soldiers on a table. End of quick flash. Resume to present.)
SAM: (whispers) He's showing us his childhood.
(SAM turns around to BAILEY and GRACE.)
SAM: I don't know if he'll be able to restrain himself next time.
(GRACE shakes her head in wonder.)
GRACE: You really know your freaks. I mean, that explains your fan mail.
(GRACE stands up and walks over to another lab counter.)
GRACE: I processed that letter you gave me, Bailey. The stain, it's human
blood -- O-negative.
(GRACE picks up the black light and shines it on the newspaper clipping. The
message underneath reads: SAM YOU'VE COME BACK TO ME. The letters are in block
print.)
(Series of quick flashes: JACK cutting the article out of the paper. On the
table around the clipping are various articles and rose petals. JACK rips the
article out of the newspaper. JACK heats up the needle with a forceps against a
blowtorch. JACK uses the heated needle to prick his finger. JACK drips his own
blood on the newspaper clipping. JACK kisses the back of the sealed envelope.
Camera holds on the newspaper clipping with dripping blood and a single red rose
on it.)
(End of quick flashes. Resume to SAMANTHA.)
SAM: No prints on the envelope.
(Without waiting for an answer, SAM turns and leaves the lab.)
GRACE: No. Do you know what it ...
(GRACE turns around to look back at SAMANTHA, only she's gone. BAILEY has his
eyes on SAM.)
GRACE: ... means?
(SAM walks out of the lab, in through the hallway and into the next room where
she stops in front of the board with various newspaper clippings and mug shot
pictures on it.)
(BAILEY and GRACE turn to walk toward the glass wall where they watch her.)
(Quick black and white flashes of:
* Grainy black and white word: STRANGLED
* Photo negative of a dead male head shot with the word: SUFFOCATION on the
bottom left
* Grainy black and white word: BEATING
* Photo negative of a dead woman, changes to: regular photo of the dead woman,
eyes wide open, blood on the face and back of the head
* Grainy black and white word: OVERDOSE
* Photo negative of a dead person on the floor on stomach, changes to: regular
photo of the dead body in white with dark colored tennis shoes on a light
colored carpet with blood all over;
* Grainy black and white word: STABBING
* Photo negative of an article with a photo on the left and the label:
STABBING on the bottom left. Headline to the article reads "POLICE ... JACK OF
...", changes to: regular photo and article.
* Photo negative of the board with various articles on it. Headlines from
articles read: "JACK OF ALL TRADES" and "JACK OF ALL TRADES STRIKES AGAIN" and
"POLICE SUSPECT JACK OF ALL TRADES" and "MURDERS LINKED". Board changes to:
regular photo shot of the board.
* Photo negative close up of article with the heading: JACK OF ALL TRADES
STRIKES AGAIN. [Note: Article itself doesn't say/mean anything.])
(End of quick flashes. Resume to present.)
(SAM turns around and leans against the counter. Thinking. She sighs, then
stands up and sits behind her desk.)
(She takes a deep breath and picks up the large photos on her desk.)
(The first photo is a generic photo of the room, burned and unrecognizable. The
second photo is of a white stroller. The third photo is of a damaged room with
counters, probably the kitchen. The fourth photo is of a bent basketball net.)
(Camera holds on SAM as she thinks.)
(Quick black and white flash to: Drum with the words: GALVANIZED GASOLINE.
Flash forward through the house and fireplace mantle. Cut to: House on fire.
Cut to: burned items on the fireplace mantle. End of quick flashes. Resume to
SAM.)
(SAM realizes something and stands up.)
CUT TO:
[INT. VCTF - HALLWAY-- DAY]
(SAM walks between BAILEY and GEORGE as they walk through the hallway. She
explains what she's thinking.)
SAM: And in this last fire, he purposely waited for the family to leave. It is
the houses he's trying to destroy, not the victims.
BAILEY: You did update the profile on mental illness?
GEORGE: Yes, which puts us at 45 suspects.
SAM: There is something specific about these houses. I don't have the answer,
but it makes sense in his mind.
BAILEY: I'll get you pictures of the homes before they were burned.
SAM: May I see a list of the suspects? I also want to go over some other data
--
(They reach the main office. JOHN calls out to them as he stares at something
in front of him.)
JOHN: (interrupting) Guys ... I think we have a problem.
(SAMANTHA stops short as she stares at the news report on the television.)
(On the television, the REPORTER gives his report while showing SAMANTHA on the
monitor. The caption on the screen reads: SPECIAL AGENT / REIGN OF FIRE.)
REPORTER ON TV: ... Damages in excess of $2.4 million, what is being dubbed the
Reign of Fire.
(The camera zooms in to show SAM'S reaction.)
REPORTER ON TV: Besides the local authorities, the FBI has sent in the Violent
Crime Task Force to investigate these fires which have citizens from Atlanta to
St. Louis living in terror tonight ...
(SAM can't take any more of it. She turns around and leaves. BAILEY steps
forward and watches as SAM'S face is broadcast on television.)
BAILEY: (gruffly) Turn it off.
REPORTER ON TV: And few answers to calm their fears.
BAILEY: (louder) Turn it off!
CUT TO:
[SAM'S OFFICE]
(SAM is at her desk packing it up for the day when BAILEY walks into her
office.)
BAILEY: I'm sorry, Sam. I let you down.
SAM: It's all right. It was bound to happen sooner or later. I just need a
couple of hours. I need to go home and talk to Angel.
BAILEY: Take the chopper. Skip the crime scenes from now on. Work from
photographs, videos. Get just as much.
(SAM puts on her jacket.)
BAILEY: Look, the plan didn't work. We'll come up with something better.
We'll adjust.
SAM: Adjust? Bailey, I don't even use my own name.
BAILEY: I can pull a lot of strings. I can't control the press, Sam.
(SAM picks up her bag and puts it over her shoulder.)
SAM: I'm going home.
(She turns and leaves the office. Camera holds on BAILEY.)
CUT TO:
[EXT. ANGEL'S FARM -- NIGHT]
(Establish.)
[INT. ANGEL'S FARM -- NIGHT]
(The door opens and SAM walks into the room.)
SAM: Angel?
(She closes the door behind her. It's very quiet inside the house. She walks
into the living room looking for them.)
SAM: Chloe?
(She looks around.)
SAM: Angel. Chloe? Is anybody home?
(She turns around and sees ANGEL standing there eating ice cream.)
SAM: Hey.
ANGEL: (mouth full) What are you doing home?
(SAM continues looking for CHLOE.)
SAM: (smiling voice) Ice cream. Very good. My daughter is living well.
Chlo?
(CHLOE comes out of her bedroom.)
CHLOE: Mommy!
(SAM picks her up and gives her a hug. CHLOE laughs.)
SAM: Hi.
CHLOE: Angel bought chocolate ice cream.
(SAM carries CHLOE into the bedroom. ANGEL follows them inside.)
SAM: Oh. I saw. Angel doesn't have to worry gaining all that weight.
CHLOE: I had some, too.
(SAM puts CHLOE down and turns around.)
SAM: You did?
ANGEL: Did you eat something?
(SAM sees something and freezes.)
SAM: (to ANGEL) What's that?
ANGEL: I don't know.
(In the center of SAM'S bed nestled between the pillows is a large bouquet of
red roses tied together with a white lace ribbon.)
(SAM leans in closer and looks at the bouquet. Tied to the white lace ribbon is
a gold wedding band. SAM picks up the gold band and looks at it.)
(Quick black and white flash to: [PAST] SAM kneeling over her dead husband and
holding his head to her breast as she cries. End of quick flash. Resume to
present.)
(SAM turns and sees CHLOE looking up at her. She turns to ANGEL and issues
instructions.)
SAM: (urgently) Angel, listen to me, ok?
ANGEL: (suddenly alert) What's up?
SAM: I need you to hit the alarm. Jack is in the house. Get Chloe. We need to
get outside and go to the car.
(ANGEL reaches out and hits the alarm. The light on the security wall alarm
turns red and a loud alarm blares throughout the house.)
(SAM pushes CHLOE toward ANGEL who picks her up. SAM reaches into her bag and
takes out her gun.)
SAM: Come here, Chloe, come here.
CHLOE: Mom? I'm scared.
SAM: It's ok, it's ok, honey. Ok? Now I want you to go with Angel. We're
going to go outside. We're all going to get in the car. Everything's fine.
(ANGEL, CHLOE and SAM make their way out of the bedroom and through the
hallway.)
CHLOE: (whimpers) Mommy?
SAM: Shh shh shh.
(They reach the living room and SAM pushes ANGEL and CHLOE ahead of her.)
SAM: Go, go, go.
(They run out of the house. SAM follows behind them, checking as she goes.)
(They scramble down the stairs and into the darkness as they make their way to
the car. They reach the bottom of the stairs.)
SAM: Ok, it's safe.
(They reach the car and get inside.)
SAM: It's safe. Get in. Get in.
(SAM gets behind the wheel as ANGEL and CHLOE get into the passenger side.)
SAM: Honey, it's ok. Here we go.
(The doors close.)
(A dog growls and the women scream in surprise.)
(Standing outside the door is DENZEL with white foam coming out of his mouth.
He barks.)
CHLOE: Denzel!
(ANGEL automatically opens the door to get him. SAM pulls her back inside.)
SAM: Ok, stay in the car. Stay in the car. Angel, stay in the car!
(ANGEL shuts the door, wanting to get her dog, but helpless to do so without
putting everyone in danger.)
(SAM turns the car on and drives off. DENZEL runs away.)
(She drives the car out of the driveway and onto the road.)
SAM: (voice low) You okay?
(ANGEL nods. She holds CHLOE tightly in her arms as the little girl cries.)
(Behind them, tires screech. SAM looks in the rear-view mirror and sees a
second set of car lights appear behind them.)
SAM: It's okay.
(Several quick black and white flashes of:
* The bouquet of roses in the center of her bed
* The article with the headline: STRING OF MURDERS IN ATLANTA SOLVED with the
secret message revealed in writing, "SAM YOU'VE COME BACK TO ME".
* [PAST] A Younger SAM peering through the police car window to find the
police man guarding them, dead.)
(End of quick flashes. Resume to present.)
(SAM continues to drive down the road. She keeps an eye on the car behind them,
rapidly gaining on them.)
(Quick black and white flashes of:
* [PAST] A Younger SAM running into the house. Only the wooden door is
colored.
* A Younger SAM running inside the house through the living room, past the
officers standing there.
* A Younger SAM kneeling beside her dead husband.)
(End of quick flashes. Resume to present.)
(The car continues to follow them as SAM sees it through the rear-view mirror.
The car catches up with them and is just behind them.)
(Then, the car backs off and pulls away.)
(SAM continues to drives. Sirens blare. A string of police cars arrive in
front of them in a line.)
SAM: Ok. Ok. It's ok.
(She looks and sees the police cars. They pull up along side her. SAM slows
down.)
(In the car on the opposite side of the road, JOHN pulls up next to SAM and
talks with her through the open windows.)
JOHN: Are you ok?
SAM: It was Jack. He was in the house.
JOHN: We'll get him.
(The line of police cars pass JOHN'S car by as they head toward the house. As
the last one passes him by, JOHN takes off after them toward the house.)
(SAM takes a breath. She turns and checks on ANGEL and CHLOE.)
SAM: You okay?
(Both she and ANGEL check on CHLOE who has her head buried in ANGEL'S lap.)
SAM: Chloe?
FADE OUT.
(COMMERCIAL BREAK)
FADE IN.
[INT. VCTF - SAM'S OFFICE -- NIGHT]
(CHLOE is asleep on the couch in SAM'S office. SAM sits next to her brushing
her daughter's hair from her forehead. She stays like that looking down at her
daughter.)
(After a moment, SAM looks up at ANGEL, just as worried for her.)
SAM: How are you doing?
ANGEL: Great. (She looks back at SAM.) How are you?
SAM: I'm ok.
ANGEL: I've never been so afraid in my life. That man was in my house, Sam.
SAM: I am so sorry, Angel.
ANGEL: Why did he let us out if he was there?
SAM: Because he enjoys the game. And he's not finished with me yet. Believe
me, he will be back.
ANGEL: This changes everything.
SAM: I know.
ANGEL: What are we gonna do?
HARD CUT TO:
[FIRING RANGE]
(SAM fires. Again. And again. And again. Over and over, bullets pierce
through the target in front of her.)
(When she's done, she puts her gun down. BAILEY walks up behind her.)
BAILEY: (instructing) Breathe out. Just squeeze, nice and easy.
(SAM doesn't say anything. She puts her gun back out and aims. She breathes
out. Then fires. The bullet hits in the 9 area.)
(She puts her gun down.)
BAILEY: Went over to the house. Got some stuff for you guys. Haven't found
the dog yet.
SAM: Denzel.
BAILEY: What?
SAM: His name is Denzel.
BAILEY: Whatever it takes, Sam. Whatever you need to feel safe, I'll do it.
SAM: Three things.
BAILEY: Name them.
SAM: First, you find us a place to live. A safe place where Chloe has
somewhere to play.
BAILEY: Second ... I've already pulled the airline tickets from Detroit to
Atlanta for the past two days. Same with bus tickets. We'll get him, Sam. I
promise you. What's the third thing?
(SAM loads the gun.)
SAM: Teach me how to shoot.
(She puts her goggles back on and holds the gun out in front of her. She
fires.)
(The bullet pierces the "head" of the target.)
(SAM puts her gun down.)
CUT TO:
[INT. VCTF -- SAM'S OFFICE -- DAY]
(SAM and CHLOE sit on the couch. CHLOE sits in front of SAM in her lap while
her mom reaches around her and sites on her shoes.)
SAM: Chloe, what do you think happened the other night?
CHLOE: A bad guy broke into our house.
SAM: Yeah, and were you scared?
CHLOE: Um, sort of. Were you?
SAM: Yeah, I was. But I knew that Angel and I could protect you, so I knew
that we would be ok.
CHLOE: You drove really fast, mom.
SAM: (chuckles) Yes, I did. I'm lucky I didn't get a ticket, huh?
CHLOE: Yeah. Are you gonna look for Denzel? I'm really worried about him.
SAM: Yeah, I'm gonna go look for him today, ok?
CHLOE: Ok.
(ANGEL walks into the office. She doesn't look too happy about being cooped
inside. She glances over at SAM and heads across the office.)
(SAM kisses CHLOE on her temple.)
SAM: Um, why don't you go brush your teeth, and I'll come find you later, ok?
CHLOE: Ok.
(CHLOE stands up and leaves. SAM sighs.)
SAM: They're still looking for him, Angel. I'm sorry. I know how much he means
to you.
ANGEL: Yeah, well, that doesn't help me a whole hell of a lot.
SAM: Look, I think that we need to figure out what we're gonna do. It's not
safe for you to go back to the farm.
ANGEL: Well, I've thought about it, and I think if I get a security patrol and
some bars on the windows -
SAM: No, Angel, it still wouldn't be safe.
ANGEL: I think I'm gonna be fine.
(SAM stands up.)
SAM: No, listen to me, Angel, ok? This is what he does. This is a game to
him, and he is not finished yet. I mean, he's not gonna kill me. He hurts me
by hurting the people that I love.
ANGEL: Sam, that farm has been in my family for over a hundred years. I have
my studio there. My whole life.
SAM: I know. I know. And when we catch him, you can move back in. Look ...
three years ago, you opened your home to Chloe and me. You gave us a place to
heal, a place where we felt safe. Now it's my turn. Hmm. Unless you're sick
of us.
ANGEL: Where will we live?
SAM: Well, I haven't really figured that out yet. Um, Bailey is working on it.
ANGEL: (disbelieving) Bailey.
SAM: (shrugs) Yeah.
CUT TO:
[INT. VCTF - MAIN OFFICE]
(SAM looks at the photos of the burnt homes before they were burnt. She pushes
them around on the table in front of her.)
SAM: Pure Americana.
(BAILEY sits in front on the table with his hand against his forehead. GEORGE
sits at the laptop between them.)
BAILEY: Where are the similarities?
SAM: Two of them have picket fences. Four of them have petunias.
BAILEY: So do half the homes in the country. Hell, Sam. I have petunias and a
picket fence.
SAM: I know. And I still find that very hard to believe.
(BAILEY smiles.)
BAILEY: Anything on that numerology?
SAM: No.
GEORGE: (interrupting) And then there were nine.
(GEORGE sets the search parameters on the computer and shows SAM and BAILEY the
results. On the monitor, the database shows nine faces of the possible
suspects.)
GEORGE: (continuing) These are the suspects that fit your profile between here
and St. Louis. They're all disfigured in some way, from, uh, scars to missing
limbs.
BAILEY: Not everyone with scars grows up to be a monster.
SAM: Any of them own vehicles?
(SAM stands up and moves in front of the monitor to look at the pictures of the
suspects.)
GEORGE: All of them, including four bugs.
(GEORGE turns around to look at SAM, truly taken with the car detail.)
GEORGE: What's the deal with those cars anyway?
SAM: Well, they're cheap. Cheap to gas.
GEORGE: I'll run their plates. Check for traffic tickets.
BAILEY: Also check for drunk driving, disorderly conduct. We have their
addresses?
GEORGE: Uh, yeah. Two of them listed bars, one of them a vacant lot, another a
church.
SAM: A church? Which one was that?
GEORGE: Right here. John and Nathan are out talking to this jewel of humanity
as we speak. He got out of a mental hospital two weeks before the first fire.
SAM: What is he doing now?
GEORGE: Parole officer says he's a model citizen. He's gotten two paychecks in
a row, which I guess is progress.
SAM: No. I don't think our guy could hold down a job.
GEORGE: All right.
(GEORGE eliminates that suspect from the list.)
GEORGE: That makes eight. Now, four of them ... have some kind of a connection
to Atlanta or Nashville or St. Louis -- a birthplace, previous jobs, et cetera.
And one of them was arrested in Nashville two years ago setting fire to a
grocery store.
SAM: All right, let's concentrate on these four. See if anything happened
right before the fires like they -- they lost their jobs, broke up with their
girlfriend, something-something that made them snap, a stressor.
(GEORGE eliminates the four from the list leaving four suspects on the monitor.)
BAILEY: I'm gonna put a trail on all four of them.
(SAM turns back to the monitor and really looks at the pictures.)
SAM: There's still something I don't understand.
BAILEY: What's that?
SAM: Fire.
(BAILEY looks up at SAM.)
CUT TO:
[INT. PRISON -- DAY]
(The cell doors open. In the center of the interview room, there's a single
table and two chairs, one on either side of the table.)
(The GUARD opens the cell door for SAM. They both walk inside. The GUARD
closes the cell door behind him.)
GUARD: (b.g.) (to passing inmates) Let's go. Keep it moving.
(SAM turns around and looks at the GUARD, who points in front on him. SAM walks
forward and peers around the wall.)
(Behind the wall, sitting in a single chair is an inmate dressed in blue
overalls. The inmate gazes out in front of him.)
SAM: Toby ...
(TOBY turns and looks SAM over, smiles, then stands up.)
TOBY WICK: Hi.
SAM: Hi. (pauses) My name is Samantha. I'm a psychologist. I'm studying
arson-related crimes, and I was told that you would be willing to talk to me.
TOBY WICK: [Mumbles] You got a light?
(SAM steps forward.)
SAM: I'm sorry. I couldn't understand you.
(TOBY steps forward toward SAM.)
TOBY WICK: Is it true they have childproof lighters now?
SAM: (nods) Yes, that's true.
TOBY WICK: I'm so glad.
SAM: I read your file.
(TOBY stands in front of her, his hands behind his back. He walks forward in
front of SAM. He looks down at the file folder in SAM'S arms.)
TOBY WICK: Were you impressed? (He looks up at SAM.) Or afraid?
(She holds his gaze.)
SAM: Just curious.
TOBY WICK: About me.
(SAM takes a deep breath, then turns and heads back to the interview table.)
SAM: You set your first fire when you were four. Do you remember why?
(TOBY looks at the table and then back at SAM.)
TOBY WICK: A seat?
SAM: Thank you.
(They both head for the table and take their seats. The GUARD moves forward to
stand at the head of the table.)
(TOBY sighs.)
TOBY WICK: My kitten.
SAM: What happened to your kitten?
TOBY WICK: I burned it dead.
(TOBY slowly puts his arms on the table. His left arm is a stump with thick,
uncovered scar tissue at the end. SAM glances down at the movement, but doesn't
comment.)
SAM: What made you use fire? Why not a rock or something?
(TOBY uses his left stump and touches SAM'S hand on the table, caressing her
finger. SAM doesn't move.)
TOBY WICK: You have very pretty skin.
SAM: (brings it back to topic) Why fire?
TOBY WICK: Ask the vestal virgins.
SAM: Servants to Vesta, the Roman Goddess of the Hearth. They're gonna be a
little hard for me to reach right now, Toby, so I'm asking you.
TOBY WICK: Wow! A student of mythology as well as criminology. Now I am really
impressed.
(He sighs.)
TOBY WICK: I chose fire ... because it hurts.
(SAM moves suddenly, pulling her hand back to open the file in front of her.)
SAM: Is that what happened in the summer of '85? You wanted to hurt someone.
(He shakes his head.)
TOBY WICK: I never meant to hurt anyone.
SAM: You burned thirty-seven apartments, killed twenty-two people.
TOBY WICK: I tried. I tried. Now I'm waiting for the flames of hell.
SAM: You wanted to hurt yourself.
TOBY WICK: (whispers) I could hurt you right now if I wanted to.
SAM: There's a guard right there.
(The GUARD steps forward, his eyes keenly on TOBY. TOBY looks up at the GUARD,
then holds his left stump up to SAM. Now, it's just a battle of wills.)
TOBY WICK: (whispers) Suck my stump.
(SAM meets his gaze and doesn't flinch.)
(With his right fist, TOBY slams it down on the table between them. SAM jumps,
and stands up smoothly gathering her file. The GUARD steps forward. SAM waves
him down.)
SAM: It's all right. It's all right.
(TOBY reaches into his shirt breast pocket and pulls out a pack of cigarettes.)
TOBY WICK: Do you have a match?
(SAM turns and heads for the door. The GUARD is close behind her.)
TOBY WICK: Please? Billy?
(TOBY puts a cigarette between his lips.)
TOBY WICK: Billy, can I have a match?
(The door slams shut.)
TOBY WICK: Come on, Billy. Gimme a match.
(More clanging. TOBY holds out the cigarette.)
TOBY WICK: Can I have a light?
CUT TO:
[INT. VCTF - MAIN OFFICE -- DAY]
(BAILEY, JOHN and GEORGE are sitting around the conference table. The phone
rings. JOHN answers it.)
JOHN: (to phone) Grant. (pauses) It's Sam.
(He holds the phone out to BAILEY who takes it.)
INTERCUT WITH:
[INT. PRISON - HALLWAY - DAY]
(SAM is on the phone, the connection's not good, plus the inmates are hanging
out their cells hooting and catcalling at her as she passes by. She ignores
them with a finger in her ear as she concentrates on the conversation.)
SAM: (to phone) Could you listen to these sick people.
BAILEY: (to phone) Toby Wick give you a hard time?
SAM: (to phone) Yeah, along with a few nightmares. Bailey, look, I think our
guy may be trying to kill himself.
BAILEY: (to phone) Well, I'll be glad to help him out.
SAM: (to phone) Do you have the pictures of the houses there?
(BAILEY extends a hand toward JOHN for the photos.)
BAILEY: (to JOHN) Houses. (to SAM) Before or after?
(JOHN scrambles to get the photos.)
SAM: (to phone) After. On the ones he got inside, what were the points of
origin?
BAILEY: (to phone) Living room, Kitchen, Bedroom, Garage. He's placing the
rat in different rooms.
(The computer starts to beep out results after GEORGE sets the search
parameters. GEORGE watches the monitor carefully.)
GEORGE: Uh ...
(GEORGE stands up waving to BAILEY to get his attention as something has caught
GEORGE'S eyes.)
BAILEY: (to phone) (to SAM) Hold on a second.
(BAILEY turns around to the monitor behind him where they see another fire in
progress.)
BAILEY: (to phone) Sam, we've got another fire. Nashville.
(SAM hangs up the phone and heads out.)
CUT TO:
[EXT. NASHVILLE - DAY]
LEGEND: NASHVILLE, TENNESSEE
[INT. BURNT HOUSE -- DAY]
(GRACE leans forward and picks something up off the ground. She slips it into a
bag.)
NATHAN: Doctor's making an early house call.
JOHN: Think she's gonna get dirty?
NATHAN: She's wearing black.
(Cut to: BAILEY follows SAM into the burned house. He's not happy.)
BAILEY: I hope this is a good idea.
(SAM steps into the house and looks around the place. GRACE is in the corner of
the house going through things and bagging evidence.)
(She walks around and enters the room that GRACE is in through the doorway. She
sees the couch filled with baggies of evidence that GRACE has been picking up.
On the baggies, she sees a knife.)
(Quick black and white flash of: Sofa cushions are being ripped and torn apart
by a person holding the knife. The same hands that tear the cushions, finger
little plastic toy soldiers carefully. The hands also tear and rip books apart
in frustration. Cut to: The heels of the hands are pressed into the man's
eyes. Cut to: The man picks up the lamp and smashes it. The man picks up the
couch and turns it over.)
(End of quick flash. Resume to present.)
(SAM looks around the room.)
SAM: He's losing control.
(Quick black and white flash of: A man wrecking destruction. He smashes the
lamp, tears the picture off of the wall.)
(End of quick flash. Resume to present.)
SAM: This was done in a complete frenzy.
BAILEY: Or there was a hell of a fraternity party.
(NATHAN and JOHN laugh at the comment.)
SAM: Do we know where the fire originated?
GRACE: Yeah. Up in the attic. But he had a lot of fun down here first.
(SAM looks around the room, thinking.)
SAM: It's like he's moving through the house in some sort of pattern.
BAILEY: Which is ...
SAM: I don't know yet.
(BAILEY sighs.)
BAILEY: We need a break, Sam. We're lucky no one else has died.
(BAILEY walks past SAM.)
SAM: I know. I know.
(Quick black and white flash to: A child is playing with an old-fashioned
lighter. End of quick flash. Resume to present.)
(SAM steps outside.)
CUT TO:
[EXT. BURNT HOUSE -- DAY]
(SAM stands next to the REPORTER as she prepares to give her interview.)
REPORTER (WOMAN): We're ready?
CAMERA MAN: Yes.
REPORTER (WOMAN): Let's roll.
(As the interview begins, BAILEY watches from the side.)
REPROTER: We're here at the scene of fire number eight, speaking with a member
of the FBI's violent crime task force, Special Agent ...
SAM: Samantha. Samantha Waters.
(When he hears her name, BAILEY smiles. Proud.)
REPORTER: (o.s.) Agent Waters, what can you tell us about this arsonist?
(JOHN walks up to BAILEY.)
JOHN: What's she doing?
BAILEY: Taking her life back.
SAM: Either here or in St. Louis or in Atlanta. He has a history in arson and
mental illness.
INTERCUT WITH:
[UNKNOWN LOCATION - JACK'S PLACE - DAY]
(SAM is on the television set.)
SAM: (from tv) Lately, he may be confused and agitated. Look at your co-
workers, your neighbors, your friends. He's your son or your brother, the guy
down at the corner bar.
(The camera cuts to a top view of the room: the table, the rose petals, the
equipment and other projects he's in the midst of working on.)
SAM: (from tv) Jack what's-his-name who lives down the street.
(The camera moves to show a top view of JACK watching the interview.)
REPORTER: (from tv) In other words, he could be anybody.
SAM: (from tv) We'll find him.
REPORTER: (from tv) Thank you very much, Agent Waters.
FADE OUT:
FADE IN.
[INT. VCTF - MAIN OFFICE -- DAY]
(JOHN bursts into the office, excited and carrying a thin file folder.)
JOHN: Going on t.v. worked. The phones are ringing off the hook.
(He reaches the main table where everyone is sitting.)
NATHAN: Listen to this.
(NATHAN stands up with a piece of paper.)
NATHAN: That was Virginia Henry, sister of that guy, (he points to the specific
picture on the monitor) ... Kevin Monk.
(NATHAN puts the piece of paper in front of GEORGE and leans over his chair,
looking over his shoulder.)
NATHAN: She lives in St. Louis. Said Kevin drove up to see her yesterday in
his Volkswagen (he looks up and emphasizes the car), it wasn't in very good
shape at all.
GEORGE: Kevin Monk. His life looks like a train wreck.
(On the monitor, KEVIN MONK is highlighted. The information reads:
KEVIN MONK [AKA BLAZE, ...
{photo}
DOB: 07/04/75 )
GEORGE: He's been setting fires since he was ten. He went from arson to
vandalism, assault, burglary -- and he just got out of jail for possession of
drugs.
SAM: When?
GEORGE: Five weeks ago.
(JOHN sees something on the monitor. Stands up, points to it and walks
forward.)
JOHN: (loudly) He was arrested three days ago for drunk driving in St. Louis
why wasn't he picked up?
BAILEY: (just as upset) Someone wasn't paying attention. That's the same day
as fire number six.
GEORGE: (reading) This also says he has scars.
(SAM stares at the picture on the monitor.)
(Quick black and white flash to: Candles being lit on the grass. He drops the
toy soldiers on the grass. Cut to: Camera sweeps along the fireplace mantle,
across the bible and the trophies.)
(End of quick flash. Resume to SAM.)
NATHAN: And get this -- their parents were buried in Nashville.
(Quick black and white flash to: Wild hands tear the sofa cushions open.
Inside the cushion is toy soldiers. Teeth bite onto the plastic white toy
piece. End of quick flash. Resume to present.))
(Cut back to the picture of KEVIN MONK. SAM stares hard at the picture.)
(Cut to: A different view of KEVIN MONK. Blue-ish tinged light. He turns and
looks at SAM or the camera, emphasis on his eyes.)
(Cut back to the picture on the monitor.)
SAM: It's him.
(BAILEY claps his hands twice to get everyone's attention and starts barking out
orders.)
BAILEY: Ok, he lives here in Atlanta. Hasn't been home in two days. I want
this out on the wire. Now. Put someone on the grave in Nashville. Nathan, get
up to St. Louis.
(NATHAN stands up.)
BAILEY: Talk to the sister.
(NATHAN leaves; JOHN stands up and walks forward.)
BAILEY: John, find a parole officer. Speak with him.
(JOHN is already headed out of the room.)
BAILEY: Find out where he drinks, personal habits, you know the drill.
(Everyone scrambles to get it done. BAILEY puts an arm around SAM and they both
head out of the office.)
BAILEY: Sam, let's go. (shouts to the table) Let's get a warrant!
CUT TO:
[EXT. HOTEL BARCLAY - NIGHT]
(Establish.)
[INT. HOTEL ROOM - NIGHT]
(The apartment manager walks down the hallway leading SAM and BAILEY to the
apartment. As they follow him, SAM looks around the area. There are men
hanging out in the corridors and hanging out the window.)
(The apartment manager points to the room. He unlocks the door and walks
inside.)
[INT. APARTMENT - CONTINUOUS]
(The room is dark. BAILEY turns on her flashlight and walks inside.)
(On the floor is a toy fort with toy soldiers.)
(Quick black and white flash to: The fort on the floor destroyed and all the
toy soldiers and horses scattered around the area. End of quick flash. Resume
to present.)
(BAILEY looks at the fort on the floor, then he looks around the room. He steps
inside. The place is a mess.)
(BAILEY reaches out and turns on the lamp. SAM steps into the apartment, but
lingers near the door. He walks around the corner to check out the other room
in the small apartment. The television set is on.)
(BAILEY reaches out and turns on the second light. He walks around the small
apartment. SAM steps in further into the apartment.)
CUT TO:
[EXT. HOUSE -- NIGHT]
(KEVIN MONK sits in his Volkswagen and looks outside the widow at the darkened
house.)
CUT TO:
[INT. MONK'S APARTMENT - NIGHT]
(BAILEY finds cages of rats. Lots of rats.)
(Quick black and white flash to: Rats crawling around the attic floor. Cut to:
A little boy in the attic on the floor with the rats in the box. The little boy
stands up and looks at the rats in front of him. End of quick flash. Resume to
present.)
(The rats in the cages.)
BAILEY: Now at least we know where he gets the rats.
(Quick black and white flash to: In the attic, the little boy stares at the
rats in the box.
CUT TO:
[EXT. HOUSE -- NIGHT]
(KEVIN MONK leans out the car window, looking at the white house across the
way.)
CUT TO:
[INT. MONK'S APARTMENT -- NIGHT]
(SAM looks around the little apartment. She takes in the mess.)
CUT TO:
[EXT. HOUSE -- NIGHT]
(KEVIN MONK opens his car door and exits the parked vehicle. He tosses his
cigarette out onto the street.)
(KEVIN gets out of the car and takes out a large container of gasoline. He
looks around, then slowly makes his way toward the house.)
CUT TO:
[INT. MONK'S APARTMENT -- NIGHT]
(SAM looks around the apartment, then something catches her eye. Tacked to the
wall with the point of a knife, is a family photo.)
(Series of quick flashes to: The various houses before they were burnt as they
looked in the photos. End of flashes. Resume to photo.)
SAM: He's killing the house he grew up in.
(Quick black and white flash to: In the kitchen, the little boy is playing with
his fort and toy soldiers on the table. The mother stands up and sweeps the
entire display onto the floor, destroying it in front of her son. End of flash.
Resume to present.)
(SAM stares at the photo. BAILEY walks up behind her to look at the photo
also.)
SAM: He's been destroying the house room by room.
(Quick colored flashes of what Sam "sees": With SAM'S eye in the background,
flashes of the following: The candle on the grass being lit with a match; the
burned display on the fireplace mantle; The toy soldiers being dropped on the
grass; The little boy sitting in the kitchen in front of his fort and toy
soldiers; more toy soldiers being dropped to the grass; The house on fire; The
title page of the HOLY BIBLE; the page of the bible being torn out of the book;
ear wax being rolled between fingertips and being stuffed into the ear; teeth
biting; ripping the sofa cushions to get to the toy soldiers inside.)
(Hands tearing and ripping, over turning the sofa; the fire burning; the frenzy
of destruction - smashing the lamp. The camera pulls away and we see the back
of a man, his gloved hands pressed against the wall. End of quick flash.
Resume to present.)
SAM: Bailey, I think he wants to destroy himself in this house.
BAILEY: Then we'd better find that house.
(He steps away from SAM. SAM continues to look carefully through the room.)
(SAM turns and leaves the room. BAILEY is waiting for her at the door. They
both leave.)
CUT TO:
[EXT. HOUSE -- NIGHT]
(KEVIN MONK limps and carries the container (or GALVANIZED GASOLINE CAN) of
gasoline toward the house. He uncaps it and spills the gasoline all around the
house.)
CUT TO:
[EXT. MONK'S APARTMENT -- NIGHT]
(BAILEY reaches the lobby door and opens it. He's on the phone)
BAILEY: Is she cooperating, Nathan?
INTERCUT WITH:
[EXT. - NIGHT]
(NATHAN is pacing the road side while he's on the phone. Police car sirens and
flashing lights glare around him.)
NATHAN: (to phone) More than that. It's like she's been waiting to tell
someone this all her life. She's an ad executive, totally normal, but they were
both abused.
(BAILEY and SAM walk through the wire door.)
NATHAN: (from phone) The mother put them up in the attic to punish them.
BAILEY: (to SAM) The mother locked them in the attic.
(Quick black and white flash to: A little boy is sitting in the attic, playing.
In the box on the cushion in front of him is a rat. End of quick flash. Resume
to present.)
SAM: (to BAILEY, realizing) He's been working his way towards the attic. He's
completed the house.
NATHAN: (from phone) And Kevin burned himself when he was eight.
(Quick cut to: KEVIN MONK carrying the gasoline can up the front walk, spilling
gasoline as he goes. His limp is obvious.)
NATHAN: (to phone) Some Fourth of July family picnic. He torched a whole
boathouse. (impressed) Sam doesn't play the lottery, does she?
BAILEY: What's the address, Nathan?
NATHAN: Uh, 3879 Crestview Street.
BAILEY: (from phone) Here in Atlanta?
NATHAN: Yeah. Uh, parents are from St. Louis.
(Cut back to: KEVIN MONK opens the front door and drenches the front door with
gasoline.)
NATHAN: (from phone reading notes) Died in a car wreck about 3 months ago. A
month ago, she sold the house.
(BAILEY repeats the address to NATHAN.)
BAILEY: 3879 Crestview. Got it.
(He hangs up the phone.)
BAILEY: (to SAM) Parents are dead, sister sold the house.
SAM: Well, that's what made him snap. Bailey, whoever's living in that house
needs to get the hell out.
(BAILEY and SAM walk out of camera frame.)
CUT TO:
[EXT. CRESTVIEW HOME - NIGHT - CONTINUOUS]
(KEVIN MONK continues to drench the front doorway with gasoline. He throws
gasoline into the bushes on the side of the house.)
CUT TO:
[EXT. ROAD - CAR (MOVING) -- NIGHT]
(JOHN is in the car driving to Crestview Street.)
BAILEY: (v.o.) John, how close are you?
JOHN: (v.o.) I'm almost there.
(Cut to: KEVIN MONK continues to drench the outside lawn of the house. He
spills gasoline on the sidewalks and on the flowerbeds. When the can is empty,
he tosses it toward the house.)
(KEVIN digs into his pockets. In one hand, he takes out a dead rat; in the
other a lighter.)
(The headlights from JOHN'S car pulls up the street.)
(KEVIN looks up and sees the barrel of JOHN'S gun as he approaches him.)
JOHN: FBI! Don't you move!
(KEVIN MONK freezes.)
(In the background, sirens of approaching cars get louder. JOHN yells to the
occupants in the house.)
JOHN: Whoever's inside the house, get out now! (to KEVIN) Don't you move,
Monk! Don't you move!
(A second police car turns the corner. KEVIN turns to look at the car, clearly
surprised.)
(The car parks up on the sidewalk. BAILEY steps out, gun in hand.)
BAILEY: Kevin Monk, FBI.
SAM: Ok, Kevin, look at me.
(KEVIN turns his head to find SAM out of the car and slowly approaching him.
There's too much going on. KEVIN turns to look at BAILEY.)
SAM: (firmly) Kevin, look at me.
MAN OF THE HOUSE: What the hell's goin' on?
(KEVIN turns around to look at the man standing in the doorway.)
JOHN: (shouts) FBI, sir! Your family's in trouble! Get them out of the house
now!
BAILEY: Sir! Take your family, get back outside!
(The man heads back into the house to comply. BAILEY looks at JOHN and motions
him to move.)
BAILEY: John!
JOHN: I'm going around back!
(JOHN runs to the back of the house. SAM, meanwhile, tries to get KEVIN'S
attention back and focused on her.)
SAM: Listen to me, Kevin. Listen to me.
(KEVIN holds out the hand with the lighter in it. He opens the lighter and
flicks it on.)
BAILEY: Don't, Kevin!
SAM: Ok. No, calm down, all right? I need you to put the lighter down.
BAILEY: Don't, Kevin! Don't make me do it!
KEVIN: I'll never be bad again.
(With one hand holding the lit lighter and the other holding the rat, KEVIN
slowly brings the two together in front of him.)
SAM: Kevin, no.
BAILEY: Kevin! No!
(At the last moment, instead of lighting the rat, KEVIN drops the rat and falls
to the gasoline soaked ground. Immediately, the entire place bursts into
flames.)
(SAM and BAILEY watch in horror as KEVIN tries to get to his feet, the flames
consuming him alive. SAM turns and seeks protection behind the car.)
(The flames make their way toward the house and now the entire front of the
house is on fire. KEVIN has managed to get to his feet and makes his way to the
front of the house.)
(Cut to: From the back entrance, the family inside runs out. JOHN is close
behind them to make sure that they're all right.)
(KEVIN slowly makes his way toward the front of the house.)
(JOHN and the family run around the house to safety.)
(KEVIN enters the house.)
(SAM and BAILEY watch from safely behind the cars as the front of the house
explodes.)
(JOHN and the family dive for cover at the explosion. BAILEY pushes SAM back
into the protection of the car.)
BAILEY: John?
(JOHN looks at the little bundle wrapped in a blanket clutched tightly to his
chest. The baby cries as he checks under the blanket.)
JOHN: (shouts) They're all ok.
(Taking a deep breath, JOHN wraps his arms around the baby.)
BAILEY: (to SAM as they look at the burning house) It's got to be hard for you
... to understand him.
SAM: (quietly) I don't.
(Various cuts: from BAILEY and SAM; to the burning house; to JOHN clutching the
baby.)
DISSOLVE TO:
[EXT. STREET -- DAY]
(Two cars turn into an old firehouse with the sign: "ENGINE 23 TRUCK CO". SAM
parks the car. ANGEL sits in the passenger seat. Both of them stare at the
building in front of them.)
(BAILEY walks up toward SAM'S car. He passes a group of four firemen sitting
out front around a table playing cards. He slaps one of them on the back and
mutters to them all.)
BAILEY: Hope it's play money.
FIREMAN: (dryly) Yeah, right, Bailey.
(BAILEY walks around the car toward SAM'S side. He leans in through the open
driver's window and smiles. He points at the building.)
BAILEY: Your new house.
(CHLOE leans in the opening between the front seats.)
SAM: (dryly) You've got to be joking.
(BAILEY'S face falls a bit. Okay, not really. He can't help but smile at their
reactions.)
CHLOE: A fire station?
ANGEL: You think this is safe?
BAILEY: Those four firemen -- FBI. Businesses outside ...
SAM: (smiles somewhat) FBI.
BAILEY: (nods) You're surrounded by us. (He opens the door.) Come on.
(BAILEY pushes the gate open as he waits for them to follow him for the tour of
the place.)
(BAILEY waits for them at the front door. He opens the door for them. They
walk in through the door.)
[INT. FIREHOUSE - DAY - CONTINUOUS]
(CHLOE, SAM and ANGEL take a look at the place. SAM'S eyes widen in surprise.
Even ANGEL is speechless.)
(Inside the ground floor, the place is huge. ANGEL'S sculptures are
strategically displayed inside the place along with her equipment and
everything. ANGEL smiles with pleasure.)
SAM: (smiling in appreciation) Bailey --
BAILEY: (smiling) Thought you could use this for your studio, Angel.
(ANGEL turns and looks at BAILEY. She can't help but smile at his
thoughtfulness.)
SAM: (understated) This isn't so bad.
BAILEY: (yeah, right) "Not so bad".
(SAM turns to look at BAILEY and laughs.)
CHLOE: (pipes up) Where's my room?
(BAILEY motions to CHLOE to come with him.)
BAILEY: Chloe.
(She reaches him and he picks her up. BAILEY heads back to the front door.)
BAILEY: Wait till you see this.
(SAM watches, then turns around to look at the place. BAILEY carries CHLOE to
the hand scanner at the front of the doorway.)
BAILEY: Chloe, put your hand on there.
(CHLOE puts her hand on the pad a tad too high.)
BAILEY: Not there, silly.
(BAILEY moves her hand down lower on the pad.)
BAILEY: Over here.
(Immediately, her hand is scanned into the reader.)
CHLOE: Wow. Mommy.
(SAM turns around and heads toward them.)
BAILEY: (to CHLOE) Do you know what that does? That reads your palm print.
(CHLOE giggles.)
BAILEY: Now no one else can get up here unless they're with one of you three
guys. You're safe.
(The elevator door opens. BAILEY turns to walk inside. CHLOE turns to look at
SAM, clearly impressed by the gadgetry.)
CHLOE: Mommy, this is so cool.
(SAM follows, then turns to look at ANGEL who is just backing away from her new
workshop. She is clearly pleased with what she sees so far. ANGEL rushes to
catch up with them, but can't help but turn around for another look.)
CUT TO:
[INT. FIREHOUSE - SECOND FLOOR - DAY -- CONTINUOUS]
(Camera opens on the furnished second floor living area. The camera moves
through the room slowly heading for the door.)
LYRICS:
The most as you'll ever go is back where you used to know
(The door opens. SAM, ANGEL and CHLOE see that all their things and furnishings
have been moved into the firehouse. It's somewhat put away, but not really.)
LYRICS:
if grownups could laugh this slow where as you watch the hours snow
(They scan the room. Then out of nowhere, they hear a small bark and a whimper,
then they see a familiar German Shepherd come running out of the kitchen toward
them.)
(BAILEY puts CHLOE down on the floor. She runs toward the big dog.)
CHLOE: Denzel!
LYRICS:
Years may go by / years may go by
(SAM turns to look over at ANGEL who watches with a bright smile on her face.
She turns and looks gratefully at BAILEY, then she can't stand there another
moment. She runs to join CHLOE and DENZEL.)
CHLOE: He's ok.
ANGEL: (shouts happily) De-e-en-n-n-ze-e-el!
(ANGEL falls to her knees in front of the dog and hugs him enthusiastically.)
(SAM and BAILEY watch from the side. CHLOE turns around to smile at her mom.)
LYRICS:
So hold on to your special friend / here, you'll need something to keep her in
(SAM turns to BAILEY.)
SAM: Bailey ... ?
(BAILEY fills SAM in on the rest of it.)
BAILEY: You've got, uh, bulletproof glass, steel doors. The whole place is
wired to me.
LYRICS:
Then again, years may go by
(SAM puts her arm around BAILEY, kisses him and hugs him tight.)
SAM: Thank you so much.
(BAILEY returns the hug.)
BAILEY: (whispers in her ear) You should feel pretty safe here.
(CHLOE and ANGEL continue to greet DENZEL. Then DENZEL takes off and runs away.
CHLOE stands up and follows him.)
CHLOE: Denzel.
(Smiling, ANGEL gets to her feet and joins SAM and BAILEY at the front door,
they're still in their hug. BAILEY and SAM break apart. BAILEY glances at
ANGEL and turns toward the door.)
BAILEY: I'd better be going. (to SAM) I'll call you later.
(He turns to leave, puts his hand in his pocket and remember something.)
BAILEY: Oh, I almost forgot.
(BAILEY takes out a prescription bottle and hands it to ANGEL.)
BAILEY: Vet says it was a reaction to poison. Two pills, two times a day, for
the next four days.
(ANGEL glances in DENZEL'S direction, then back gratefully at BAILEY.)
ANGEL: Thanks, Bailey.
SAM: I'll see you later.
(BAILEY steps back into the elevator and closes the gate.)
LYRICS:
When everyday now, secrets end and then again, years may go by / years may go
by / years may go by
(SAM holds out her hand to close the door behind BAILEY. ANGEL steps forward
and looks around the place.)
(SAM turns around after closing the door and really looks around the place.
It's a beautiful place, but ... )
(She glances over at ANGEL who stands quietly by the window. Feeling for her
friend, SAM steps up behind her.)
SAM: I know it's not the farm, but --
(They both glance over as DENZEL runs into the room followed closely by CHLOE.
CHLOE stops in front of her jungle gym.)
CHLOE: (thrilled) Mom, look!
(CHLOE turns and climbs the ladder up to the platform.)
ANGEL: (nods) I could live here for a couple months.
(beat)
SAM: It might be more than a couple of months.
(ANGEL'S eyes widen. SAM puts her arm around ANGEL'S shoulders; ANGEL hugs SAM
back, their heads leaning against each other for a moment.)
SAM: I can't believe Bailey pulled this off.
ANGEL: Not bad.
(They both walk out of camera frame. CHLOE slides down the sliding board, then
runs to climb up the ladder again.)
DISSOLVE TO:
[INT. JACK'S PLACE - DAY]
REPORTER (WOMAN): (b.g.) (from tv) ... A member of the FBI's Violent Crime
Task Force. Special Agent -
(Camera opens on a bottom view of the ceiling and the red roses hanging from it.
At the top of the ceiling is a mosaic.)
SAMANTHA: (b.g.) (from tv) Samantha. Samantha Waters.
REPORTER (WOMAN): (b.g.) (from tv) Agent Waters, what can you tell us about
this arsonist?
(Dissolve to top view of the room. A MAN, JACk is sitting in a chair watching a
video tape of SAM'S interview.)
SAMANTHA: (from tv) We need the public's help. Now, if someone knows this man
-- either here, or in St. Louis, or in Atlanta -- he has a history of arson and
mental illness. Lately, he may be confused and agitated. Look at your co-
workers, your neighbors, your friends. He's your son, your brother, the guy
down at the corner bar, Jack what's-his-name--
(rewind)
SAMANTHA: Jack what's-his-n--
(rewind)
(Camera close up of the television.)
SAMANTHA: Jack-
(rewind)
SAMANTHA: Jack-
(rewind)
SAMANTHA: Jack-
(Frame freezes on SAMANTHA. Deep breathing sounds are heard.)
FADE OUT.
==========================
THE END
==========================
[Closed 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
1X02: RING OF FIRE
ORIGINAL AIR DATE ON NBC: 09/28/1996
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:
JOHN DIEHL
Co-Producer: JOHN FORREST NISS
Produced by: ANTOV SANTA CROCE
Supervising Producer: CYNTHIA SAUNDERS
Creative Consultant: KEN SOLARZ
Executive Producer: LARRY HERTZOG
Co-Executive Producer: NANCY MILLER
Written by: NANCY MILLER
Directed by: PETER O'FALLON
==========================
END CREDITS
==========================
Sanders/Moses Productions
NBC Studios
NBC Enterprises
Associate Producer: CATHY FRANK
With
SETH PETERSON as Kevin Monk
KIM BALDONADO as Reporter
Story Editor: JEAN GENNIS
Story Editor: PHYLLIS MURPHY
Casting: ANTHONY BARNAO
Director of Photography: MICHAEL BONVILLAIN
Production Designer: JONATHAN CARLSON
Edited by: JON KOSLOWSKY A.C.E.
Main Title Theme: ANGELO BADALAMENTI
Music by: JEFF RONA
Unit Production Manager: ANTHONY SANTA CROCO
First Assistant Director: CAROL GREEN
Second Assistant Director: JEFF KAY
Costume Designer: TOM McCKINLEY
Production Supervisor: ROBERT E. WOZNIAK
Camera Operator: THOMAS YATSKO
First Asst. Cameraman: BUTCH PIERSON
Dolly Grip: RICK MAXEY
Production Sound Mixer: KEN SEGAL
Second Second Assistant Director: LAURA SYLVESTER
Location Manager: RHONDA BAER
Gaffer: VANCE TRUSSELL
Key Grip: RONN COONEY
Construction Coordinator: ANDREW MOORE
Transportation Coordinator: STEVE ZERWECK
Script Coordinator: ERNIE ORSATTI
Special Effects Coordinator: LARRY FIORITO
Art Director: JEREMY A. GASSELLS
Costume Supervisor: KRISTIN DANGL
Set Decorator: RICHARD REAMS
Property Master: BLANCHE SINDELAR
Make-up Artist: CRISTINE CHADWICK
Hair Stylist: STEVEN SOUSSANA
Production Auditor: SUSAN SLATTERY
Script Supervisor: JANEL F. REEVES
Production Coordinator: GAIL DUNCAN
Assistant to Executive Producer: NICHELLE M. FROTHO
Assistant to Co-Executive Producer: ANNE BRUNNER
Assistant to Producer: KIMBERLY DICKENS
Computer Graphics: PAUL LeBLANC
Video Playback: BOB MORGENROTH
Visual Effects: RICHARD RUSSELL
Post Supervisor: LYNN STEVENSON
Post Coordinator: GINA LAMAR
Main Title: SUZANNE KILEY
Supervising Sound Editor: PETER AUSTIN
Assistant Editor: J.J. ROGERS
Music Editor: KIM NAVES
Re-Recording Mixers: MIKE GETLIN / DEAN OKRAND / BILL THIEDERMAN
Da Vinci: RICK DALBY
Telecine: MACE JOHNSON
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:09/23/2003~lky
http://www.webphilia.com/~anthology/wnp.html