PROFILER 1X03: UNHOLY ALLIANCE ORIGINAL AIR DATE ON NBC: 10/19/1996 TRANSCRIBED FROM DVD Written by: KEN SOLARZ Directed by: P.J. PESCE Transcript by Intrepid Courtesy of http://www.webphilia.com/~anthology/wnp.html Please do not archive this transcript without permission from the Transcriptionist. ========================== DISCLAIMER: ========================== "PROFILER" and other related entities are owned, (TM) and (c) by Sanders/Moses Productions, NBC Studios, NBC Enterprises, and A&E TV, All Rights Reserved. This transcript was made without their permission, approval, authorization or endorsement. For Fair Use, For Educational and For Entertainment Purposes Only. Any reproduction, duplication or distribution of this material in any form is expressly prohibited. It is absolutely forbidden to use it for commercial gain. CONDITION OF USE: (1) Do not alter the content of this file. (2) Leave the headers/disclaimers in tact because it lists all those who have made this transcript possible for your enjoyment. (3) Provide a link back to the site where this file originated: http://www.webphilia.com/~anthology/wnp.html Contact the Transcriptionist at (intrepidly002@yahoo.com) ========================== SUMMARY: The VCTF is called in to investigate a violent, seemingly random murder which may have ties to a string of serial murders Bailey investigated ten years earlier. ========================== PROFILER 1X03: UNHOLY ALLIANCE ========================== COLD OPEN [CLOSE UP: YIN/YANG TATTOO on MAN'S arm.] (The camera moves to the side to show that the man is sitting at a desk cluttered with pieces of paper. In one hand, he holds some coins, in the other he jots down notes on a piece of paper as incense smoke fills the air with scent.) (Close up of his notes as he continues to write fervently. Around the man's neck, he wears a yin/yang amulet.) (He pauses for a moment, then throws his pencil down on the table in frustration. He rubs his mouth and chin with his hand as he thinks for a moment, then moves to the computer.) (He starts typing an e-mail: "I need relief. Order. What is my course of action?") (He hits enter: Your E-Mail Message has been sent.) (The man exhales and thinks for a moment. He tosses some coins on the table. He gathers the coins, then tosses them on the table again. On a slip of paper, he draws a third long line, a fourth long line and a fifth, two-short lines.) (The telephone rings. The man ignores the phone and tosses the coins down on the table.) (The answering machine beeps.) MAN'S VOICE: I got your message. Don't move. I'm on my way. (Camera close up of a single coin spinning on its edge on the table.) (Slowly dissolve in: The MAN working and writing at his desk. He picks up the book and looks through it. He finds the page and reads.) (He stops and pauses, thinking.) (He stands up and looks for something on his shelves among the various liquor bottles. Not finding it, he uses his arm and sweeps the bottles onto the floor in frustration.) CUT TO: [EXT. LIQUOR STORE -- NIGHT] (A man walks out of the liquor store with a bottle of liquor in a paper package. He stops, looks at the bottle and smiles. He walks down the sidewalk.) (He walks past a couple. He sees a man with a cane and a limp walking by. He stares at the man, but continues walking.) (As he walks, the MAN looks around as if searching for something. Then he sees it. A man on roller skates headed his way. The MAN with the liquor bottle looks at the man on the roller skates and starts to head toward him.) (As he nears, he slips into the shadow of the building waiting for the man on the roller skates to pass by.) (Finally, at the last moment, the MAN steps out of the shadows, flicks open a knife and stabs the unsuspecting passer-by dead.) FADE OUT TO END OF TEASER ROLL TITLE CREDITS FADE IN. [INT. SAM'S RSIDENCE -- NIGHT] (SAM is sitting alone at the table, papers spread out in front of her. After a moment, she sighs and turns to look at the dog lying in the room with her.) SAM: Higgins, how about a cookie, huh? (HIGGINS barks.) SAM: (louder) Chloe, honey, it's time to go to bed. (SAM gets up and heads for the counter to get Higgins a doggie cookie. She feeds it to him.) SAM: Here you go, baby. Here, have a cookie. Good boy. (As she pets him on the head, the lights in the next room flicker off. It's suddenly noticeably very quiet.) (SAM looks up and sees dozens of dozen red roses filling the room. Everywhere she looks there are vases of red roses.) (The front door opens and someone walks in. He drops some long stemmed red roses on the floor and walks over them in order to get to SAM. When he reaches her, he grabs her and he starts to choke her.) (They struggle.) (The telephone rings waking SAM up. She answers it.) [INT. SAM'S RESIDENCE - BEDROOM - NIGHT] SAM: Hello? JOHN: Sam? Are you awake? SAM: What? INTERCUT WITH: [EXT. - NIGHT] JOHN: Get dressed. You gotta get down to Richmond County. We got a dead body. SAM: Wait ... John? (SAM turns the lamp on.) JOHN: Caffeinate that brain. You're gonna love this. Oh, I didn't wake Chloe. What's your roommate's name? SAM: My living arrangements really fascinate you, don't they? Her name is Angel. (SAM gets up and out of bed.) SAM: Denzel? (DENZEL barks.) JOHN: Thought her name was Angel. (SAM steps out of her bedroom into the hallway.) SAM: John, why are you calling me at 3:00 in the morning? (SAM switches the lights on in the kitchen.) JOHN: We got a male victim ... caucasian, mid-20s. Stabbed once. SAM: Go ahead. I'm listening. JOHN: His body's been positioned. He's kneeling, palms up. His hair's been cut off, and some of his teeth have been pulled out. Locals asked for our assistance. Still there? (SAM'S kneeling and petting Denzel as she listens to JOHN on the phone.) SAM: Yeah. Um ... where's Bailey? JOHN: That's a good question. He's in a hell of a mood, I'll tell you that. He told me and Grace to come on out here and call you as soon as we got to the body. (From above, the sounds of a helicopter get louder. SAM looks up.) JOHN: I think he said he's sending you the chopper. SAM: Yeah, I think my ride's here. Um, all right, look, John, keep your eye on the crowd around the crime scene. The killer might be watching. JOHN: They're practically selling tickets. See you soon. (JOHN hangs up.) (SAM hangs up. She looks down at DENZEL.) SAM: (to DENZEL) You know, you gotta do that guard dog thing even in my nightmares, ok? (He growls in response.) DENZEL: Woof. CUT TO: [EXT. CITY LIGHTS - NIGHT] LEGEND: RICHMOND COUNTY VIRGINIA [EXT. RICHMOND COUNTY - STREET -- NIGHT] (A crowd has gathered around the crime scene. Emergency personnel are there trying to contain it. BAILEY and SAM make their way through the crowd to get to the scene.) BAILEY: Excuse us, please. BAILEY: Excuse us. (The OFFICER at the tape lifts it up for them to walk in.) JOHN: Grace puts time of death at less than 4 hours ago. This guy's not even into rigor yet. No I.D., no weapons, no witnesses. These skates here are worth over a couple of hundred bucks. He's got at least 30 cash in his pockets. Definitely wasn't a robbery. BAILEY: Anything else off the body? (GRACE is still working on the body.) GRACE: Well, a couple of strands of blond hairs. They're not his. I mean, they could have been transferred from the killer. (SAM looks at the scene as she listens.) GRACE: He's also got abrasions on his arms and his palms. He could have been dragged, he could have fallen, there could have been a struggle. (GRACE gets to her feet.) JOHN: I smell margaritas. You? GRACE: Well, it's tequila. His shirt is soaked. I'm gonna run toxicology. (Quick flash to: The KILLER deliberately pours the tequila from the packaged bottle onto the body. End of flashback. Resume to present.) SAM: (thinking) Granola trail mix and tequila? Did we find the hair and the teeth? JOHN: Yeah. They were in the trash. They're bagged up. (An OFFICER walks up to BAILEY. He signs something.) OFFICER: Lieutenant. SAM: In a bag in the trash? JOHN: That's right. These guys think they got Jack the Ripper on their hands. (SAM kneels down to look at the body.) GRACE: Well, maybe they do. I've never seen anything like this. Have you? (Quick flashback to: The KILLER uses a scissors and cuts the MAN'S hair off. End of flashback. Resume to present.) SAM: So he doesn't take his money. He doesn't even take his souvenirs. He just places the body, offers a drink ... (Quick flashback to: The KILLER places the body down and reaches out to close his eyes. End of flashback. Resume to present.) SAM: Grace, is there any way you can lift a print off of his eyelid? GRACE: Well, lifting prints off of the body is very difficult. Why? SAM: Well, the killer may have closed his eyes. It may be a part of his ritual. GRACE: Well, I could ask them if they have a tent rig, and I'm sure they could check it out. BAILEY: I want you to do it, Grace. GRACE: Well, I can't. I mean, it's their body, it's their jurisdiction. BAILEY: Not anymore. We're taking it back to Atlanta. We've already got clearance. You'll do the autopsy with one of their M.E.S. GRACE: Oh, they're just gonna love that. BAILEY: (hard) Just do what I say. (BAILEY turns and walks away leaving his team members stunned by his harshness.) BAILEY: (softer, over his shoulder) Please. JOHN: I think I'll, uh, start work on that I.D. (SAM watches as BAILEY steps aside and away from the group. SAM walks over to him.) SAM: Hey. BAILEY: Positioning of the body -- how unusual is that? SAM: It's unusual. BAILEY: What do you think? SAM: Well, I definitely think that he's killed before. (BAILEY sighs.) BAILEY: So do I. (Disturbed, BAILEY walks away leaving SAM standing there watching him.) CUT TO: [EXT. FBI BUILDING (STOCK) - NIGHT] [INT. FBI - VCTF - COMMAND CENTER -- NIGHT] (The SAM and GEORGE sit around the conference table. The crime scene photos are spread out in front of SAM while GEORGE works on the laptop.) GEORGE: You know, I'm just not hitting anything on VICAP. SAM: Well, keep looking. He took time with the body. It's too familiar for this to be his first kill. It's almost as if he's being respectful. GEORGE: Oh, I don't know about that. His choice of tequila? Total rotgut. (SAM stands up, picks up her coffee cup and starts pacing the floor behind GEORGE.) SAM: Ah. You know what? Try unsolved females that fit the M.O., too. GEORGE: All right. What else? SAM: Well, he was very controlled. I mean, there was no rage, no passion. It's like he stabbed him to kill him so that he could focus on the ritual, but what I don't understand is why he didn't take his trophies -- the teeth and the hair. GEORGE: (amazed) Do you think about this stuff all day, all night? (SAM sits down and looks at the candy in front of GEORGE.) SAM: No, I usually obsess about chocolate. Can I please have that? (GEORGE smiles and hands SAM the candy. BAILY walks into the room and takes a seat at the head of the conference table.) BAILEY: We've got an I.D. on the victim. Max Turner, 27. Social worker. Address, Richmond County. SAM: What about next of kin? BAILEY: Parents have been notified. He's got a sister. SAM: Well, we need to figure out why he chose Max Turner, so I would like to speak to the family ... BAILEY: (interrupts) I've already set that up. SAM: (nods) Great. (BAILEY abruptly shuts the file folder in front of him, gets up and walks out of the Command Center without another word. Both SAM and GEORGE watch him go.) (When the door closes behind BAILEY, SAM and GEORGE look at each other.) CUT TO: [EXT. STREET OUTSIDE MAX'S RESIDENCE - DAY] (SAM crosses the street toward the house.) [MAX TURNER'S RESIDENCE -- DAY] (SAM talks with ANN, MAX TURNER'S sister.) ANN TURNER: I don't understand why you need to look at Max's place. SAM: I need to learn everything I can about your brother. We're trying to find some kind of connection to his murder. ANN TURNER: Oh, so now we're just supposed to cooperate with you when no one has told us anything, is that it? SAM: I'll tell you whatever I can. ANN TURNER: (shouts angrily) Yeah, I want to know why my brother's dead. Can you tell me that? (SAM doesn't say anything. ANN TURNER cools down a bit.) ANN TURNER: We don't know where he is ... ok? We can't even plan his funeral. SAM: Your brother is in Atlanta. They'll probably release his body tomorrow. ANN TURNER: You have no idea who did this to him, do you? SAM: No, not yet. (She opens the door for SAM.) ANN TURNER: Come in. SAM: Thank you. ANN TURNER: Well, as you can see, my brother was a slob. SAM: He liked to read? ANN TURNER: Oh, yeah. Books on music, sports -- he loved basketball. It's why he bought this teddy's chair -- his throne he called it to watch the games from here. (She picks up a text book.) He was taking Spanish classes. He wanted to go to Spain next summer. [BEDROOM] (ANN TURNER leads SAM in the bedroom.) SAM: Was your brother a drinker? ANN TURNER: No, no. Max never drank. (She picks up a purple knee pad.) God, he must have 10 pairs of these things laying around. (She pushes them aside to sit on the bed.) SAM: Did he always wear kneepads? ANN TURNER: Always. They were always purple. (Quick flashback to: The KILLER positions the body. There are no knee pads. End of flashback. Resume to present.) SAM: Tell me about your brother. What was he like? ANN TURNER: Um ... he was the best, you know? He was -- he was really funny ... and really goofy, you know? He was the kind of guy that I could always tell him anything, (Cut to: They've placed the body under a make-shift tent and are fuming it for prints.) ANN TURNER: (v.o.) ... and he would never judge me, never tease me he'd never make fun of me. (GRACE tapes the sides and closes the tent opening.) ANN TURNER: (v.o.) I remember this one time ... um, when I was 7, and max would have been 9. And, um, I got it in my head that I was gonna be the next Chris Everett, right? (Short time cut later: GRACE places a fan near the opening to blow the fumes away.) ANN TURNER: (v.o.) So Max spent the entire summer ... on the tennis court trying to teach me that stupid backhand, you know? (Cut back to: The Bedroom.) ANN TURNER: I never learned it. (SAM nods. She turns and notices a small framed photo on the dresser.) ANN TURNER: Um, that's Jennifer. Max told me a couple of weeks ago, um ... (Cut to: The fan blows the fumes away.) (Dissolve to: GRACE and BAILEY are over the body.) ANN TURNER: (v.o.) ... he was gonna give her a ring this Christmas, surprise her. Do you think I should tell her that? (Close up of the body.) (Cut back to: SAM looks at the photo of MAX and JENNIFER. She turns to look at ANN TURNER.) SAM: Well, I would want to know. ANN TURNER: I don't know what I'm supposed to do now. SAM: You just have to make it through every day. ANN TURNER: Well, I don't think I can. SAM: I know ... but you will. (MAX'S SISTER cries. She turns and looks at SAM. SAM sits down next to her on the bed and puts a comforting hand on her knee.) CUT TO: [INT. POLICE DEPARTMENT - AUTOPSY ROOM] (GRACE dusts the top of the body's eyelids.) GRACE: Light. (The lights are turned on and she sees the finger print.) GRACE: Sam is unbelievable. BAILEY: I need to see the base of the head. GRACE: Why? Does Sam have another hunch? BAILEY: This one's all mine. (GRACE turns the body and looks at the back of his neck. There is a tattoo of sorts.) GRACE: What is that? BAILEY: A close enough match to these. (BAILEY shows GRACE a handful of photos. This KILLER has definitely killed before.) CUT TO: [INT. BAILEY'S OFFICE -- NIGHT] (BAILEY is behind his desk when someone knocks lightly on the glass. He motions for SAM to come in.) SAM: Hey. I talked to Turner's sister. BAILEY: Anything interesting? SAM: Yeah, the killer stole his kneepads. BAILEY: Kneepads. (He snorts.) Why not? SAM: You want to tell me what's going on with you? (BAILEY hands SAM the photo of MAX TURNER'S markings.) BAILEY: I found these ink markings on Turner, base of the head. They match these ... (He opens the file folder on the desk and shows SAM another photo of a body with similar markings.) BAILEY: ... case I worked on ten years ago. SAM: Her body was laid out the same way? BAILEY: Yeah. SAM: So you think he's killing again. (BAILEY sighs heavily.) BAILEY: How do you kill someone when you're locked up in prison? (SAM realizes what BAILEY'S saying. Camera holds on BAILEY.) FADE OUT. FADE IN. [INT. VCTF -- HALLWAY] (SAM picks up the photos that BAILEY shows her.) BAILEY: It was '86, Laughton, Oklahoma. There were four murders -- two male, two female -- all killed differently, but positioned the same way. (BAILEY and SAM walk into the office.) BAILEY: Victims 2 and 3 had similar markings on the base of the head. SAM: What about 1 and 4? BAILEY: We missed them. Went back, exhumed the first body, found traces of ink. Never found anything on the fourth victim. There was so much blood. SAM: Well, over how long a period were the murders committed? BAILEY: Two months. Hair and fiber off the fourth victim matched Army Private Gary Gunn. SAM: That sounds odd. BAILEY: I thought so, too ... at least for that one. The first 3, I always had my doubts. Evidence just wasn't there, but I was overruled. I should have trusted my instincts. SAM: Then, until last night, the murders stopped? BAILEY: Yeah. SAM: Where's Gunn now? BAILEY: Fort Leavenworth. (They walk into the Command Center.) JOHN: I've been going over Gunn's records. Looks like he spends all his time in the library working on appeals or hard labor working on attitude. This guy gets into a fight every other day. GEORGE: I'm still working that fingerprint. I have no match yet. SAM: You know, this could a copycat. JOHN: Either that or ... (there's a pause) ... Gunn's working with somebody on the outside. BAILEY: Ok, I'll say it. Or I put an innocent man in prison. (JOHN and GEORGE look at each other.) JOHN: We'll know soon enough. GEORGE: From your lips to god's mainframe. JOHN: (loudly) So listen, Grace is about to do post. Anybody want to come along? (BAILEY steps away to look at the pictures posted on the board of all five murders.) GEORGE: I'll pass. BAILEY: Why these victims? Men, women, different ages. The first strangled while he was hunting, second drowned, third beaten to death, fourth stabbed coming home from work. SAM: Yes, and she was stabbed repeatedly, which makes it personal. BAILEY: Her name was Lisa Wilson, Gunn's Ex-girlfriend. SAM: The other three bodies are positioned perfectly, but Lisa's right palm is facing downward. (Quick flashback to: The KILLER places LISA WILSON'S palm down on the concrete. End of flashback. Resume to present.) SAM: This breaks with the killer's ritual. JOHN: What are these lines here? (JOHN points to the markings.) GEORGE: Looks like the I Ching. (Everyone turns to look at GEORGE.) JOHN: What the hell's an 'I Ching'? SAM: Well, it's an ancient chinese philosophy. It's about 3,000 years old. I mean, I don't really know that much about it, but there's a book - (GEORGE takes over the explanation as they head back to the conference table.) GEORGE: The Book of Changes. It's originally a Book of Oracles. It's considered to be one of the five classics of Confucianism. JOHN: (chuckles) Uh-huh. GEORGE: I'm a very spiritual guy. (JOHN smiles at GEORGE.) SAM: Well, maybe in his own way, the killer is, too. JOHN: So we're looking for a guy who's into eastern religion. SAM: Well, not necessarily. George is into the I Ching, and he's Jewish. I read my horoscope, and I'm Catholic. BAILEY: I'll stick to scotch for my spiritual guidance. (JOHN laughs.) BAILEY: Tell us what these lines mean. GEORGE: Well, they give you guidance in troubled times. It's all based on honor and ethics. I just happen to have here--take a look. (GEORGE puts up a website on the monitor board.) GEORGE: Here's how it works. You ask a question, preferably something deep and meaningful from your life. Um ... Will the Braves go to the series this year? SAM: Deep, George. GEORGE: Now, you have three coins in your hand, right, which you throw six times, and depending on how they land, the combination of heads and tails determines on whether you mark down one of these broken or unbroken lines. Now, you stack these six lines into a hexagram- (On screen the coins are electronically tossed and the lines appear. It's all very efficient.) SAM: (to GEORGE) ... and that's when you go to the Book of Changes and you look up the hexagram to find the answer? GEORGE: Right. BAILEY: That's when I go to my scotch. (JOHN laughs.) BAILEY: What about the Braves? GEORGE: Take a look. (On the monitor, the six lines read: All are in accord. Remorse disappears.) GEORGE: Translation ... "A man strives onward in association with others whose backing encourages him." (He considers the answer for a moment, then smiles.) Yeah. Go, Braves. SAM: So we're looking for a killer who rationalizes murder with a 3,000-year- old chinese philosophy. I wonder what Gunn knows about the I Ching. CUT TO [EXT. FT. LEAVENWORTH MILITARY PRISON -- DAY] (The Prisoners are working outside the building in the courtyard. Camera moves across the Prison Name on the wall. High above, an OFFICER leads BAILEY and SAM down the stairs to the courtyard.) GUARD: Gunn, you got a visitor! GUNN: Gunn up! (The OFFICER nods to GUNN.) (The inmates whistle as SAM and BAILEY walk by. They reach GARY GUNN who stops working to talk with them.) GUARD: Back to work! GARY GUNN: Well, I was hoping you were dead, Malone. (Glances at SAM) At least you're stepping up in the world. I think this qualifies as cruel and unusual punishment. Is that why you're here ... to drive me crazy? BAILEY: We're reopening your case, Gunn. You might want to act like a human being. GARY GUNN: Well, this place kind of takes it out of you. Why now? I've been saying for ten years I didn't do it. BAILEY: Know anyone in Richmond County? (As SAM listens, their conversation turns echo-y and far-off.) GARY GUNN: What the hell's in Richmond County? BAILEY: Dead body. Just like Lisa. (SAM looks at the tattoo on GARY GUNN'S arm of a broken heart.) GARY GUNN: I didn't kill Lisa. SAM: She broke up with you, didn't she? GARY GUNN: She didn't break up with me. I broke up with her. SAM: Because the I Ching told you to? GARY GUNN: Who the hell is he? I broke up with her because I was sick of the bitch. Are you gonna apologize, Malone? You took ten years of my life. BAILEY: This is your life. Reopening the case wouldn't change that at all. (BAILEY and SAM turn away to leave.) GARY GUNN: Hey, Malone! (BAILEY turns around. GARY GUNN picks up his broom and swings at BAILEY. SAM screams in surprise. But BAILEY is faster, he deflects the blow and swings at GARY GUNN knocking him to the ground. OFFICERS swarm around GUNN and subdue him.) GARY GUNN: Aah! Aah! (The OFFICERS pick GUNN up and pull him away screaming.) GARY GUNN: (screaming, yelling) Don't come back here no more, Malone! I'll kill ya! I'll kill ya! (The GUARDS lead SAM and BAILEY off the premises.) GUARD: Get back to work! CUT TO [INT. VCTF - COMMAND CENTER -- DAY] (The team meets in the Command Center. GEORGE is in front of his laptop throwing coins on the table obviously searing for an answer to a question he's asked.) BAILEY: What do Richmond County and Laughton, Oklahoma, have in common? They both have an army base. Fort's sill in Oklahoma, Fort Snow in Richmond County. George, I'd like you to start checking for prints in the military. GEORGE: You got it. BAILEY: Right now, that's our only obvious connection. (JOHN walks over to the photo board.) JOHN: So we're saying that Gunn's good on victim number 4, but out as a suspect on the first three, right? SAM: Yeah, I don't think this guy has a clue about the I Ching, and Lisa Wilson is the only crime scene that was out of control. Now, Gunn has the control of a gnat. GRACE: I've been working on the autopsy protocols of the victims from Oklahoma. Lisa Wilson was stabbed multiple times with a serrated-edged knife. (GEORGE throws the coins on the table.) SAM: Now, what about Max Turner? GRACE: Thick, smooth blade once right through the heart. BAILEY: What about the ink? GRACE: Plain old ballpoint. (GEORGE throws the coins on the table again. JOHN turns around.) JOHN: George, can you cut it with that stuff? It's really starting to bug me. GEORGE: You guys are workin', workin', workin', when all you have to do is ask the I Ching. (He turns to his computer as JOHN takes his seat next to him.) BAILEY: Oh, that's just great, George. Ok...what's the address of the killer? SAM: And why the different M.O.s? I mean, we have strangulation, drowning ... this third victim, what was she beaten with? BAILEY: I'm pretty sure it was her own belt. It was missing when we found the body, but the husband said she'd worn it to work that morning. SAM: And what about the other victims? Did they have anything taken from them? BAILEY: Watch, purse ... look, let's hope the killer stays on the same cycle he was in Oklahoma - killing every two weeks -- give us some time. SAM: Yeah, well, I wouldn't count on it. (GEORGE throws the coins a final time on the table. JOHN'S had it with the noise.) JOHN: Gimme those things. (JOHN grabs the coins off the table, but GEORGE is through. He looks at the results on the laptop.) GEORGE: Hey, this is interesting. I asked the I Ching, "Will we find him?" (The monitor results read: Danger is at hand. It furthers one to desist.) GEORGE: Translation ... "A man wishes to make vigorous advance, but circumstances present an obstacle." (Silence falls as they ponder the meaning. Camera pushes in closely on SAM.) CUT TO [INT. SAM'S RESIDENCE -- NIGHT] (SAM is sitting on the chair reading the Book of Changes.) (Camera moves slowly across the words in the book: His hair is cut off ... ) (Quick black and white flashback to: The KILLER is sitting at his desk tossing the coins and writing on bits of paper. Close on the coin turning on the desk. End of flashback. Resume to SAM.) (Quick black and white flashback to: Various flashes of items and things around the scene as the KILLER kills his victim, positions him and pours the tequila on the body. End of flashback. Resume to SAM.) (Camera moves slowly across the words in the book: 'at the hands of the man with the' ... ) (OVERLAY scenes of SAM turning the pages of the Book.) (Camera moves slowly across the words in the book: ... with the purple knee bands.) (Quick black and white flashback to: MAX TURNER rides his roller blades on the side walk. He's wearing his purple kneepads. At first they're black and white. Then they're purple kneepads. The KILLER positions the body. The KILLER removes the Kneepads. End of flashback. Resume to SAM.) (SAM glances away from the Book, thinking.) CUT TO [INT. VCTF - BAILEY'S OFFICE] (Camera moves slowly across the words in the book: His hair is cut off ... ) (SAM is reading out loud from the Book.) SAM: "His hair is cut off and his teeth taken. Oppression at the hands of the man with the purple knee bands. It furthers one to make offerings and libations." It's number 47 k'un, which means oppression and exhaustion. BAILEY: I Ching told him, kill the man in the purple kneepads, things would get better. SAM: That's what his mind twisted it to mean, yeah. BAILEY: What about the others? SAM: Well, their first victim was a hunter, and I found this passage number 3 which means "difficulty at the beginning." Listen to this. (Camera moves slowly across the words in the book: ... hunts deer without the ... ) SAM: "Whoever hunts deer without the forester only loses his way in the forest." It's in the reference to guidance. (BAILEY gets to his feet and heads for the door. SAM'S behind him.) BAILEY: We gotta go. Second and third victims? SAM: It's 800 pages, Bailey. I am not Evelyn Wood, but there is a theme happening throughout the translations. It's like the beginning of a task, hard work ... it's almost as if he's trying to do a good job, and no one understands the pressure. BAILEY: Sounds familiar. SAM: You did your job ten years ago, Bailey, and you are doing it now. BAILEY: And Max Turner's dead because I didn't do it good enough. (GEORGE appears in the doorway.) GEORGE: Guys. Guys, come here. I gotta show you something. (GEORGE leads them back to the Command Center.) GEORGE: The good news is I do have an I.D. off the print from Turner's eyelid. BAILEY: Bad news? (On the monitor, the two prints on the screen overlay on each other and show a PROBABILITY MATCH OF 99.997%. However, all the results are: CLASSIFIED.) (GEORGE points to the screen. SAM turns to look at BAILEY who stoically stares at the monitor.) FADE OUT. FADE IN. [EXT. VCTF BUILDING (STOCK) - DAY] [INT. VCTF - BAILEY'S OFFICE -- DAY] (BAILEY hangs up the phone and looks at SAM standing in front of his desk.) BAILEY: Nothing. SAM: We're the FBI. We have to have it. BAILEY: Oh, we have it. That doesn't mean we see it. SAM: Do they know that it's a multiple murder case? BAILEY: They know. SAM: And what do they say? BAILEY: "An investigation is underway". SAM: You think it's the military? BAILEY: I don't know. SAM: (sighs) Amazing. BAILEY: I was gonna say "corrupt." SAM: Well, do you want to keep going? BAILEY: Don't you? SAM: Well, why not? I mean, it's not every day that we get to track down a government-protected serial killer. (BAILEY chuckles. Both their smiles fade as they realize what they're going up against.) BAILEY: I need to make a phone call, Sam. SAM: Yeah. Ok. (SAM gets up to leave the office. At the doorway, she turns around to look at BAILEY.) SAM: Bailey, how many cases have you solved off a fingerprint? BAILEY: My entire career? SAM: Yeah. BAILEY: Two. (She shakes her head at BAILEY letting him know that he doesn't need to make that phone call.) SAM: We don't need it. BAILEY: (counters) That's not the point. (SAM looks at BAILEY, then she opens the door and leaves the office. BAILEY picks up the phone to make that call.) CUT TO: [EXT. CHINESE PAVILION -- MEETING PLACE -- DAY] (CASPER smokes a cigar near a Chinese pavilion. BAILEY walks up the path to meet with him. BAILEY hands him a cigar just as CASPER takes out a cigar from his jacket pocket to give to BAILEY. It's a ritual between them.) BAILEY: Monte, number two. CASPER: Sancho Panza. BAILEY: Contraband. CASPER: Call a cop. BAILEY: But I called you instead. CASPER: It's complicated. You've opened up a situation everyone thought was closed. BAILEY: I've opened up? I'm not the one doing the killing ... or the hiding. CASPER: You always want to make it so simple, don't you? BAILEY: It is simple. CASPER: National Security is not simple or pretty or easy. It can be fun at times. You know that, I know that. BAILEY: So let's make it fun. Tell me what you know. CASPER: Remember Noriega? BAILEY: That was a bit complicated. CASPER: That was nothing. (The two men stand in the middle of the path looking at each other.) CUT TO: [INT. FBI - VCTF - DAY] (GEORGE is at his laptop, JOHN is pacing the floor while SAM sits quietly in the back listening to them talk.) GEORGE: It's hard to understand because western thinking is so linear, and this is, like, you know, wide open. JOHN: What I don't understand is if this guy's in the military, everything is structured from morning to evening. GEORGE: Yes, but within that structure -- constant change, even if you're not aware of it. SAM: Ok, George, I Ching for Dummies, preferably in thirty seconds or less. GEORGE: That's, um ... everything that happens is connected to everything else, and the only thing that will never change is that everything changes. JOHN: Okay, I got it. Change is constant, except for that moment in time when you throw the I Ching, right? SAM: So wait three seconds and throw it again and the answer is just for that moment in time, because within those three seconds, the entire universe has changed. (beat) Max Turner puts on purple kneepads ... GEORGE: ... and decides to go to the grocery store ... (Quick black and white flashback to: The KILLER'S desk. The KILLER writes on a piece of paper. The KILLER tosses the I Ching coins on the desk. The KILLER writes down the lines on the hexagram. End of flashback. Resume to present.) SAM: ... and walks into his Destiny. (Quick black and white flashback to: The KILLER steps into the shadows of the building waiting for MAX TURNER to approach him. In the distance, MAX TURNER is carrying his sack of groceries and roller-blading down the sidewalk toward the KILLER who is hiding in the shadows. Flash to his purple knee pads. End of flashback. Resume to SAM.) (Quick black and white flashback to: The KILLER places MAX TURNER'S body on the sidewalk. End of flashback. Resume to present.) SAM: If the killer is getting his instructions from the I Ching, it's going to be virtually impossible to predict what he's going to do. (SAM looks at JOHN and GEORGE.) CUT TO: [EXT. CHINESE PAVILION -- MEETING PLACE -- DAY] (BAILEY and CASPER continue talking.) BAILEY: I get the message. I'm rocking the boat. You know what? I don't care. CASPER: It's not a message, Bailey. BAILEY: A warning. CASPER: That's what I'm hearing. BAILEY: I still don't care. CASPER: Look, try and see the big picture once in your life. BAILEY: I can't. Four dead bodies are blocking it. What am I supposed to tell the families? CASPER: Whatever you need so you can sleep at night. Your job is worth this case? BAILEY: If it isn't, it's not worth anything. I need a name. CASPER: Colonel Henry Deems, ok? Good luck. (CASPER stands up and leaves.) CUT TO: [EXT. FORT SNOW MILITARY BASE -- DAY] (BAILEY drives up to the check point. On the side of the road, there's some commotion and a group of military personnel in the bushes. BAILEY slows the car down and calls the security guard over.) BAILEY: What's going on? SECURITY GUARD: It's military business, sir. Keep moving. (BAILEY shows him his ID.) SECURITY GUARD: It's a homicide, sir. Found the body in the weeds over there. (BAILEY stares out the window at the scene.) CUT TO: [EXT. VARIOUS CUTS - DAY] [EXT. FORT SNOW MILITARY BASE -- DAY] (BAILEY makes his way back from the scene toward JOHN and SAM who are both standing by the car. When they see BAILEY, they turn and follow him.) JOHN: So what do we got--male, female? BAILEY: Male. (He leads them through the tall brush toward the body. He pushes the tall foliage aside to show a dead body wrapped in vines.) SAM: Grace. (They step aside to let GRACE get to the body. She sees it and reacts.) GRACE: Oh, my god. (She kneels down next to the body.) GRACE: He must have smothered. (Quick flashback to: The coin hits the table. Flash to the words in the book: "creeping vines". End of flashback. Resume to SAM.) SAM: Do you see a hexagram? GRACE: Yeah, right here. (Quick flashback to: The coin spins on the table. The KILLER draws the hexagram. Flash to: The vines wrapped around the body with special emphasis on the palms facing upward. End of flashback. Resume to SAM.) (SAM looks up at the sky.) SAM: It's funny how we keep coming back to the military. (SAM looks at BAILEY and gets to her feet.) SAM: What were you doing here, Bailey? You just happened to be driving by? BAILEY: Nothing just happens, right? (BAILEY turns and walks away.) (SAM stands there a moment, then turns to follow him.) CUT TO: [INT. FT. SNOW - COL. DEEMS' OFFICE -- DAY] (BAILEY and SAM walk toward the office. COL. DEEMS' assistant gets to his feet and motions to the COLONEL that they're there. The COLONEL greets them at the door.) COL. HENRY DEEMS: It's been a long time. BAILEY: Ten years. Agent Waters, Colonel Deems. SAM: Nice to meet you. (The assistant leaves the office and closes the door behind him.) [INT. FT. SNOW -- COL. DEEMS' OFFICE - DAY -CONTINUOUS] (SAM and COL. DEEMS shake hands.) COL. HENRY DEEMS: You here about that mess out front? BAILEY: Yeah. That mess out front. Can we have access to the base? We need to talk to a few people. Thank you. COL. HENRY DEEMS: Whatever you need. Please. (He motions for them to sit down.) COL. HENRY DEEMS: I've seen you in action, Malone. You'll get this guy. (SAM looks at the model in the display case. She points to it, but before she can ask, COL. DEEMS answers her with pride.) COL. HENRY DEEMS: That's the Nightstar -- the most advanced weapons guidance system in the world. BAILEY: You believe in coincidences. Ten years ago, I'm in Oklahoma investigating a string of murders. Colonel Deems is stationed at Fort Sill. A decade later, he's stationed at fort snow, and, lo and behold, we find two new murders. COL. HENRY DEEMS: What are you implying? BAILEY: It's kind of strange how dead bodies keep following you around. What do you know about this? (COL. DEEMS takes a moment and studies BAILEY before answering.) COL. HENRY DEEMS: I know what you know. BAILEY: Oh, really? Just like in Oklahoma. COL. HENRY DEEMS: Gunn got what he deserved. BAILEY: For Lisa Wilson, but not for the other victims, and he sure as hell didn't kill the victim in your front yard ... or Max Turner. COL. HENRY DEEMS: Who's Max Turner? (BAILEY opens a file folder and puts a photo on the desk in front of DEEMS to look at. DEEMS barely glances down at it, but doesn't look at it. He hardly shows any interest.) BAILEY: He was 27 years old. He had parents and a sister. COL. HENRY DEEMS: I'm sorry to hear that. BAILEY: Take a look at him. He was gonna get married next year, go to Spain. (SAM looks at COL. DEEMS. He gets to his feet, dismissing them.) COL. HENRY DEEMS: I have to get back to my responsibilities. (He picks up the photo and tosses it to BAILEY.) COL. HENRY DEEMS: You'll pardon me ... if I don't see you out. (BAILEY takes the photo and puts it back in the file. He gets to his feet and looks at Col. Deems.) BAILEY: Thanks. (BAILEY and SAM leave the office.) (Cut to: [THE OUTER OFFICE] The door opens. BAILEY and SAM walk out. In the background, the Colonel watches them leave.) CUT TO: [INT. FBI - VCTF - BAILEY'S OFFICE] (BAILEY is reading the I Ching.) BAILEY: (reading) "It was k'un again and went about oppression. He is oppressed by creeping vines. (Camera moves slowly across the words: moves uncertainly.) BAILEY: (reading) "He moves uncertainly and says, movement brings remorse." (GRACE takes a seat.) GRACE: And a slow death. His name was Keith Hines. He was a carpenter. Cause of death -- suffocation. BAILEY: You check for prints? GRACE: Yeah. Nothing. (JOHN and SAM walk into the office in conversation.) JOHN: (to SAM) You owe me a buck 50. SAM: (to JOHN) Mm-mmm. I drove. JOHN: (to SAM) Huh? SAM: (to BAILEY) I thought you were going to cut down on your drinking. (BAILEY raises the glass in salute to SAM.) BAILEY: There's ice in the glass. (SAM and JOHN take their seats.) JOHN: Sam was telling me about the Colonel. What a jerk, huh? SAM: No, he's just confident -- confident in his ability to manipulate other people. In fact, the only time he showed any emotion at all was when he couldn't look at Max Turner's picture. (She reaches out and picks up the book.) SAM: (reading) "He's oppressed by bonds that can easily be broken. The distress is drawing to an end." You think it has something to do with the nightstar? JOHN: The new weapons system? Congress has threatened to pull the plug. SAM: And kill the project? JOHN: Well, it is an election year. They gotta bark about something, don't they? GRACE: We're fighting violent crimes, and they're creating the most violent weapons on the face of the earth. (Quick various flashes of: The nightstar. Keith Hines. The hexagram at the back of the neck. The print on the eyelid. End of flashes. Resume to SAM.) SAM: Is there any way we could get ahold of Deems' fingerprints? JOHN: No. They're classified. BAILEY: Not anymore. (BAILEY picks up the photo of Max Turner, bagged.) BAILEY: We have them on this. Grace, run those for us, please. (GRACE doesn't move. She looks from BAILEY to JOHN who voices what she's thinking.) JOHN: You think Deems is the killer? CUT TO: [MONITOR] (GEORGE is running the comparison on the two prints.) (The results are in. GEORGE turns to the group behind him.) GEORGE: It's a perfect match. (They look at the information on the monitor for: PETER LESHANSKY. PROBABILITY % 99.997. Oh, but oops. It's the wrong screen.) (The monitor shows the record, photo, history and stats for COL. HENRY DEEMS.) FADE TO BLACK. (COMMERCIAL BREAK) CUT TO: [INT. FBI - VCTF - COMMAND CENTER] (BAILEY rushes into the room.) BAILEY: Let's get a warrant started. JOHN: You bet. (SAM stands up and walks over to the monitor.) SAM: I don't think it's Deems. JOHN: His prints are all over the murder victim. What else do you need? SAM: I don't know. What else do we know about Deems? GEORGE: I'll bring up his bio. BAILEY: Look, I've been told my job's on the line if I pursue this. Personally, I don't care. But I don't want to put any of you at risk, so if you want to bow out, I'll understand. JOHN: I'll take the heat. (saucily) I can always go back to being a cop. It's you feds who have to follow the rules. BAILEY: You don't know me very well. George? Grace? GRACE: I'm in. GEORGE: I'm just starting to have fun. SAM: I have to call Ann Turner tomorrow night and let her know that her brother is coming home, so ... let's get to work. (BAILEY looks gratefully at SAM.) GEORGE: Colonel Henry Deems ... head of weapons operations. West Point, class of '66. Served in Vietnam, gulf war. He's got more medals than Patton. JOHN: You ever give him a look? BAILEY: Yeah, we gave him a look. Didn't fit. He was working day and night on the new weapons system, flying back and forth to Washington every other day for briefings. SAM: Can we find out the name of the weapons system? BAILEY: Found out when the gulf war broke. It was the Windstorm Cruise Missile. You think this has something to do with Nightstar? GEORGE: Long-range subsonic cruise missile used for surface-to-surface warfare with conventional or nuclear warheads. SAM: That's the mind that we're looking for. George, who created it? GEORGE: Um, it's got the name of the contractor. (He searches for the name.) GEORGE: Looks like a team. Let me see if any of them worked on both systems. SAM: That's the mind that Deems is protecting. Deems is not the killer. He's the keeper. GRACE: Well, how do you explain the fingerprints, then? (Quick flashback to: There are TWO men standing over MAX TURNER'S dead body. DEEMS reaches out and closes MAX TURNER'S eyes. End of flashback. Resume to present.) SAM: Well, they have a relationship based on need. It's a strong connection -- one that's hard to break. Deems may have been forced into the ritual. I mean, he may have even tried to stop it at one point. It all makes sense in a 'George' sort of way. GEORGE: (amused) Compare me to a killer. I don't mind. SAM: (clarifying) No, it's just -- the killer has to have a mind that is structured and open -- a scientist, a physicist -- I mean, the basic laws of physics say that the world is constantly changing. I mean, it's the same with the I Ching. JOHN: (trying) Nightstar's run on computers. GEORGE: Ok, four people worked on both the windstorm and Nightstar. (GEORGE puts pictures of the four men on the monitor.) GRACE: Is that blond hair I see? GEORGE: Peter Leshansky ... computer engineer, Ph.D. in physics. In '86, Deems presented a medal to Leshansky for, quote, "Lives saved as a result of his design for the windstorm missile guidance system." SAM: Look at the medallion he's wearing. George, can you enlarge this? GEORGE: Uh-huh. (On the screen, the yin/yang medallion is enlarged.) (Quick flashback to: Close up of the tattoo, the coin toss, and the spinning coin. Flashes of the dead body, Keith Hines wrapped in vines, of Col. Deems, and of the two men over MAX TURNER. Flash to Close up of PETER LESHANSKY. End of flashback. Resume to present.) (SAM turns around to look at the rest of the team.) SAM: (final) This is the killer. GEORGE: No address. All personal info classified. BAILEY: We use Deems to find him. JOHN: Surveillance? Fort Snow is a maze of tunnels and secrecy. If he wants to lose us, I don't know how we find him. SAM: Through the front gate. Deems would never expect that. We'll need to nudge him a little bit, Bailey. Do you think that you could get another meeting with him? (BAILEY raises his coffee mug in salute to SAM.) CUT TO: [INT. FORT SNOW - COL DEEMS' OFFICE -- NIGHT] (COL. DEEMS closes his file and looks up.) COL. HENRY DEEMS: What is it, Malone? (BAILEY walks into the office.) BAILEY: Just wanted to let you know where we are in the investigation. Peter Leshansky. COL. HENRY DEEMS: What? BAILEY: I just need to know why. COL. HENRY DEEMS: Malone- BAILEY: A man lives his whole life in service to his country. Where'd it go wrong? COL. HENRY DEEMS: Get the hell out of here. BAILEY: Don't you even care? COL. HENRY DEEMS: You're a cop in a suit, bulldogging one murder case. I have to consider things you never even thought of! BAILEY: And live with yourself. That's what I don't understand. (BAILEY turns to leave the office.) COL. HENRY DEEMS: One man is not going to change what needs to be done. (BAILEY turns around to look at DEEMS.) BAILEY: We finally agree on something. (BAILEY walks out of the office.) CUT TO: [EXT. FORT SNOW - SECURITY CHECK POINT -- NIGHT] (BAILEY and JOHN sit in the car watching the front gate. BAILEY is on the phone with SAM.) BAILEY: (to phone) I just left Deems' office. SAM: Were you your sweet, charming self? BAILEY: I nudged him a little. INTERCUT WITH: [INT. FBI - VCTF - COMMAND CENTER - NIGHT] GEORGE: We found out that Gunn was Deems' driver at Fort Sill. (On the monitor, there's a photo with a picture of DEEMS and GARY GUNN.) BAILEY: (from phone) Right. SAM: Bailey, if Leshansky is feeling oppressed, Deems may be in danger. (In front of them, they see DEEMS drive out of the Fort.) JOHN: He's moving. BAILEY: Deems just pulled out. We're on him. SAM: Bailey, be careful. CUT TO: [INT. LESHANSKY'S RESIDENCE -- NIGHT] (PETER LESHANSKY sits at his desk throwing the I Ching coins and writing on pieces of paper. He's looking for an answer to a question he's asked.) CUT TO: [INT. FBI - VCTF - COMMAND CENTER -- NIGHT] (SAM stands there thinking.) SAM: I have a question. (GRACE hands her the pennies. SAM sits down at the table.) SAM: Will Leshansky turn against Deems? (SAM drops the coins on the table. GRACE and GEORGE watch. GRACE moves to the board and draws the two short lines to keep record as SAM picks up the coins to toss again.) CUT TO: [INT. LESHANSKY'S RESIDENCE -- NIGHT] (LESHANSKY picks up the coins and shakes them. He drops them on the table. Camera close up of the spinning coin.) FADE OVER: (SAM tosses the coins and watches them fall on the table.) DISSOLVE TO: [EXT. LESHANSKY'S RESIDENCE -- NIGHT] (DEEMS parks in front of LESHASKY'S house. LESHASKY steps out of the house. DEEMS gets out of the car to meet with him.) (BAILEY and JOHN'S car quietly pulls up the drive and parks.) FADE TO: (SAM drops the coins and they fall on the table. GRACE draws another long line on the board.) CUT TO: [EXT. LESHANSKY'S RESIDENCE -- NIGHT] (DEEMS knocks on the gate. LESHANSKY opens the gate.) COL. HENRY DEEMS: We got a problem. (He steps inside.) (Cut to: JOHN and BAILEY step out of the car. BAILEY heads for the house. JOHN glances in DEEMS' car and follows BAILY.) (They reach the gate. BAILEY opens the gate and they enter.) CUT TO: [INT. FBI - VCTF - COMMAND CENTER - NIGHT] (GRACE draws the final line in the hexagram. She turns to SAM who is looking up the results.) SAM: (reading) "One must go through the water, it goes over one's head. Misfortune. No blame." FADE TO: [INT. LESHANSKY'S RESIDENCE -- NIGHT] (BAILY and JOHN enter LESHANSKY'S house, their guns drawn. The house is littered with pieces of paper on the floor and is lit with candles.) SAM: (v.o.) (reading) "Applied to politics, this means if in times of uncertainty, we give up alliance with those below us and keep up only the relationships we have with people of higher rank, ... " (BAILEY makes his way across the living room. In the next room, the voices are loud and arguing.) SAM: (v.o.) (reading) ... "an unstable situation is created." (BAILEY motions for JOHN to go to the side.) SAM: (v.o.) (reading) "The unusual has reached its climax, and to finish one's task, the water must rise over one's head." (JOHN checks out the next room. The arguing voices are louder.) (BAILEY steps into the room after JOHN.) DEEMS: This must end! (Both men are shouting punctuated by an occasional crashing sound.) CUT TO: [INT. FBI - VCTF - COMMAND CENTER - NIGHT] SAM: He's gonna drown him. CUT TO: [INT. LESHANSKY'S RESIDENCE -- NIGHT] [UNDERWATER POV] (DEEMS' face is forced under the water and is held there.) (DEEMS struggles.) (Again, DEEMS' face is forced under the water and is held there.) (BAILEY suddenly appears in the doorway.) BAILEY: Leshansky, move over! (BAILEY steps forward and kicks LESHANSKY away from DEEMS.) BAILEY: Don't move! John! (JOHN moves forward past BAILEY toward LESHANSKY.) JOHN: I got him! I got him! Turn around! Turn around! (PETER LESHANSKY is incoherent and shouting.) PETER LESHANSKY: Synchronicity takes the coincidence of events in space and time-- (JOHN cuffs LESHANSKY.) JOHN: Gimme your arm! (BAILEY checks DEEMS.) BAILEY: You all right? PETER LESHANSKY: And time is leaning toward-- (Then pushes him toward the OFFICER standing there.) BAILEY: Cuff him! Get him to the medics. (JOHN pushes LESHANSKY to the door.) PETER LESHANSKY: And every advance is-- JOHN: Get him outta here! PETER LESHANSKY: Which only interferes with my-- (The OFFICERS take them away. Suddenly, it's once again quiet in the small bathroom.) JOHN: What a freak. BAILEY: That surprises you? (JOHN steps out of the bathroom and into LESHANSKY'S bedroom. He flicks on the light and looks around. The place is chaotic. There is writing on the walls - all over the walls.) JOHN: Think this is what his mind looked like? (BAILEY steps out into the bedroom. He takes out his cell phone and dials.) BAILEY: Sam, we got Leshansky and Deems. (He looks around at the walls.) You wouldn't believe this place. SAM: (from phone) It's probably a mess. BAILEY: You tell me. INTERCUT WITH: [INT. FBI - VCTF - COMMAND CENTER -- NIGHT] SAM: Are there pieces of paper with equations and hexagrams all over the place? BAILEY: Pretty weird. You should see the walls. SAM: He was too busy on the Nightstar to clean up. He was probably using the walls to make sense of what was going on in his mind. (beat) Going insane isn't easy. CUE SOUND: BUZZER CUT TO: [INT. FT. LEAVENWORTH MILITARY PRISON -- DAY] (The guards escort GARY GUNN through the tunnels to the gate to meet with SAM and BAILEY.) MAN: (b.g.) Let's go! (GARY GUNN looks through the bars at BAILEY and SAM.) GARY GUNN: I had some sweet dreams about you. Jeez, I haven't had any visitors in two and I get two in one week. BAILEY: Thought you might like to know, the first three murder counts have been dropped. GARY GUNN: So what? Instead of four life sentences, I got one. BAILEY: Thought it might give you some peace of mind. GARY GUNN: I'm telling ya, I was framed. On Lisa! On all of 'em! You're a -- you're a bastard, Malone, do you get it? (He shouts and yells as the guards drag him away.) [EXT. COURTYARD -- DAY (BAILEY and SAM walk away across the courtyard.) BAILEY: (over his shoulder) I love you, too. Don't ever change. SAM: There's that word again. Bailey, how did you find out about Deems? BAILEY: I have a friend ... helps me out from time to time. SAM: Ah. The private phone call. BAILEY: Spoke with him this morning. Deems worked alone, believed in what he was doing, used his influence and connections to deceive everyone. SAM: You believe that? BAILEY: I have to believe it. (They reach the bottom of the stairs.) BAILEY: You know what's really sweet? SAM: What? BAILEY: Deems is gonna end up right here at Leavenworth. Gunn may be his next- door neighbor. SAM: Well, maybe there's order in the universe after all. (They walk out of camera frame.) FADE TO: [CLOSE UP OF SPINNING COIN] (The penny stops spinning.) SAM: How do I find Jack? (SAM draws the final line to the hexagram on the paper. She opens the book and reads.) FADE TO: [JACK'S PLACE] (JACK is working on something.) SAM: (v.o.) "Six in the beginning means once it's oppressed under a bare tree and strays into a gloomy valley." (Various fade in to: He picks up a knife, he caps a syringe, he picks up a small photo of SAM smiling.) SAM: (v.o.) "For 3 years, one sees nothing." (Various cuts of: He puts the photo down. He picks up a gun. He picks up some wire and some tape.) (Far camera shot of JACK'S work table and JACK holding the table.) (Fade to: JACK holds a gun. Cut to: The gun is on the table and JACK tucks something into the small black bag on the side. He zips the bag closed.) (Close up of the zipper closing.) (Far blur shot of JACK wearing a baseball cap, picking up a long, stemmed rose from the table and heading out the door.) (Camera focuses on the door as it closes behind him.) 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 1X03: UNHOLY ALLIANCE ORIGINAL AIR DATE ON NBC: 10/19/1996 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: CARMEN ARGENZIANO as Colonel Henry Deems TOM EVERETT as Casper IAN PATRICK WILLIAMS as Peter Leshansky BENJAMIN MOUTON as Gary Gunn MERLE KENNEDY as Ann Turner Produced by: ANTHONY SANTA CROCE Supervising Producer: CYNTHIA SAUNDERS Creative Consultant: KEN SOLARZ Executive Producer: LARRY HERTZOG Co-Executive Producer: NANCY MILLER Written by: KEN SOLARZ Directed by: P.J. PESCE ========================== END CREDITS ========================== Sanders/Moses Productions NBC Studios NBC Enterprises Associate Producer: CATHY FRANK With JEFF FOSTER as Max Turner DOUG SPEARMAN as The Guard Story Editor: JEAN GENNIS Story Editor: PHYLLIS MURPHY Casting: ANTHONY BARNAO Director of Photography: MICHAEL BONVILLAIN Production Designer: JONATHAN CARLSON Edited by: KAREN STERN Main Title Theme: ANGELO BADALAMENTI Music by: JEFF RONA Unit Production Manager: ANTHONY SANTA CROCO First Assistant Director: BRUCE CARTER Second Assistant Director: JEFF KAY Costume Designer: TOM McKINLEY 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: BETHANY BROWN Script Supervisor: JANEL F. REEVES Production Coordinator: JANE EVERETT 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 Optical Online: ROGER BERGER Post Supervisor: LYNN STEVENSON Post Coordinator: GINA LAMAR Main Title: SUZANNE KILEY Supervising Sound Editor: PETER AUSTIN Assistant Editor: JULIE DOLE 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:11/30/2003~lky http://www.webphilia.com/~anthology/wnp.html