PROFILER 1X06 MODUS OPERANDI ORIGINAL AIR DATE ON NBC: 11/09/1996 TRANSCRIBED FROM DVD Written by: BOB LOWRY Directed by: JACK BENDER 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 local toy maker is murdered by Jack which leads Sam in to the horrible revelation that all of Jack's victim's were people whom she knew at different times in her life. ========================== PROFILER 1X06: MODUS OPERANDI ========================== FADE IN. [INT. PAPA DOC'S RESIDENCE – NIGHT] (Open on a toy Ferris wheel spinning in the corner of the work table, the tiny lights on as it turns. Camera moves down to show PAPA DOC, NOAH BECKER, working on a toy airplane. He puts the forceps down and picks up a tiny piece and uncaps the glue for use.) (Cut to: Outside the house, a MAN stands out in the front lawn smoking a cigarette.) (Back inside the house, PAPA DOC glues the piece to the airplane.) (Cut to: Outside, the camera moves forward as if someone it walking nearer to the front porch.) (PAPA DOC continues to work inside.) (Outside, the porch creaks as someone steps up on it. Through the window, we can see PAPA DOC working at his work table.) (Inside, there's a knock at the front door.) (PAPA DOC goes to answer it. He opens the door and finds himself looking at a little boy.) PAPA DOC (NOAH BECKER): Donny. What are you doing out so late? DONNY: Mom said I could pick up my laser gun as long as I came right home. Is it ready? PAPA DOC (NOAH BECKER): It sure is. (PAPA DOC steps back into the house and picks up the laser gun off the table.) PAPA DOC (NOAH BECKER): Here we go. ( He shows that it works and the laser gun whirls.) PAPA DOC (NOAH BECKER): It was one little wire -- just snapped. That happens with sophisticated weaponry. DONNY: Thanks, papa doc. You're the greatest. PAPA DOC (NOAH BECKER): You get on home now. (DONNY turns and walks down the front porch as PAPA DOC closes the door. He can't help but try the laser gun. He tucks it into his pocket.) (DONNY picks up his bike and looks up. He gasps, frightened. There's a MAN standing in the front lawn smoking a cigarette. DONNY rushes away.) (Cut to: Inside the house, PAPA DOC sits back down at his work table to work on the toys.) (Cut to: The kitchen door is slightly open. The INTRUDER is in the kitchen. He walks over and picks up the largest knife from the knife block.) (Cut to: PAPA DOC continues to work. He's completely unaware of the INTRUDER in his kitchen.) (The INTRUDER holds two knives, one in each hand and heads for the living room, his intent clear.) (PAPA DOC looks up and turns around. He sees the INTRUDER and cringes.) (Through the reflection in the metal, we see a distorted view of the INTRUDER attacking PAPA DOC, stabbing him in a vicious frenzy.) (The body falls to the ground with a thud. The INTRUDER picks up the model airplane PAPA DOC was working on. There's some blood spatter on it as well as on the table.) (The INTRUDER lifts the plane and pretends to fly it around the room, making airplane whirring noises.) FADE TO END OF TEASER ROLL TITLE CREDITS (COMMERCIAL SET) FADE IN. [BEDROOM -- DAY] SAM: Go! (Two pairs of arms reach up and grab ahold of the headboard. It appears that SAM and COOP are in bed trying to wrestle without using their arms.) (SAM giggles and laughs. Finally COOP climbs over SAM.) SAM: Oh! Oh, what was that? I keep losing. COOP: I keep ending up on top. This is such a great game. (They kiss. COOP looks down at SAM.) COOP: You have great eyes. (They roll over and SAM looks down at COOP.) SAM: You have a great nose. (COOP laughs.) SAM: You do. (They kiss again.) (SAM'S pager beeps.) SAM: That's me. (She climbs over COOP to check her pager.) SAM: Oh, I gotta go. (Cut to: COOP is in the kitchen.) COOP: (shouts) Cereal? SAM: No. I don't have time. (SAM'S getting dressed.) COOP: My mother always said breakfast is the most important meal of the day. SAM: Your mother was a very wise woman. (COOP carries two glasses of juice into the bedroom. SAM walks back and forth across the bedroom as she gets dressed.) COOP: You want the orange juice or the apple juice? SAM: Uh, I'll take the apple. COOP: You know, uh, Lafayette, Louisiana is probably my most favorite city in the entire western world. (He hands her the glass of juice.) SAM: Oh, that's great. I'll tell you all about it ... when I get back. (SAM puts the glass of juice on the cabinet.) COOP: So, you can come with me to Memphis if you want. SAM: Memphis? What do you got, another Elvis sighting? COOP: Actually, it's an arson investigation. When it comes to fireworks, I am the best. SAM: Yes, I know, but I am not taking my boyfriend to a murder scene. COOP: How long you gonna be gone? SAM: Uh, well, could be this afternoon, could be an overnighter. I'm not really that sure. COOP: If you get stuck there, why don't I fly down and tuck you in? SAM: Nope. (COOP grabs SAM and stops her from moving.) COOP: Hey, I'll make you eggs for breakfast -- just the way you like them – over, very nice and easy. SAM: (chuckles) Yup? COOP: In fact, why don't I stop off in Atlanta on my way to Memphis, and we can have dinner? SAM: That'd be great. (She kisses him and starts looking for her things.) COOP: That Italian place? SAM: Yeah. COOP: 8:00? SAM: Mm-hmm. (They kiss again.) COOP: Life is good. SAM: Yeah, it is. (He takes a sip of his orange juice. SAM grabs the glass from him.) SAM: Give me some of that. (SAM walks out of camera frame.) CUT TO: [EXT. COUNTY (STOCK) – DAY] LEGEND: LAFAYETTE, LOUISIANA (TOP VIEW of the area from Helicopter: The soft flutter of a helicopter flying sounds in the distance.) [EXT. BECKER RESIDENCE -- DAY] (BAILEY, JOHN and SAM exit the car and head for the crime scene.) JOHN: Tell me, why are we here? BAILEY: It was an old friend. JOHN: I see. You owe him. CUT TO: [INT. BECKER RESIDENCE – DAY -- CONTINUOUS] (Close up of an OFFICER dusting for prints.) BAILEY: Ray. (RAY LAUNDRY turns around and heads for the AGENTS.) CAPT. RAY LAUNDRY: Oh, Malone. Thanks for coming. I think this one's a little bit out of our league. BAILEY: Sam Waters, John Grant, this is Captain Ray Laundry. CAPT. RAY LAUNDRY: Pleasure. SAM: Nice to meet you. CAPT. RAY LAUNDRY: Call me Ray. Malone and I been knowing each other forever. BAILEY: Hasn't been that long, has it? JOHN: I'm gonna need to speak to the first officer on the scene. CAPT. RAY LAUNDRY: He's right outside. JOHN: Great. (JOHN leaves the group and heads outside.) BAILEY: So, what do you got for us? CAPT. RAY LAUNDRY: Fear, Malone. Nothing but fear. Come on. (He leads BAILEY and SAM to the next room.) (Quick flashes of: PAPA DOC dead on the floor.) (Resume on the dead body.) CAPT. RAY LAUNDRY: Name's Noah Becker. Moved here from Atlanta about 10 years ago to be near his daughter. He's retired. Used to play with my nephew Donny. Fixed his bike, toys, stuff like that. BAILEY: Nice guy. CAPT. RAY LAUNDRY: Yeah. We're worried about Donny, though. He's been real quiet since Becker got killed. SAM: Could he have seen something? CAPT. RAY LAUNDRY: No. Donny was at home when this happened. Sure loved Becker, though. All the kids did. (SAM looks around the room. BAILEY sees the back door.) BAILEY: Is that how you found the door? CAPT. RAY LAUNDRY: Yeah. BAILEY: Anything on the prints? (SAM kneels down next to the body.) CAPT. RAY LAUNDRY: We dusted everything from the toilet seats to the cereal boxes. Only found Becker's. Guy must've been wearing a latex suit. (SAM sees the toy airplanes.) SAM: Is there a murder weapon? CAPT. RAY LAUNDRY: No. M.E. Says he used two knives -- picked him up, rode him like a jackhammer. (SAM looks at the knife block and sees the four empty slots.) (Quick flashes of: The body. The INTRUDER removing the knives from the knife block. The toy model airplane. End of flashbacks. Resume to present.) (SAM looks and sees the toy model airplane on the dishwasher in the kitchen.) (Odd.) (She gets up and looks at the airplane. She picks a dishtowel off the hook and opens the dish washer. Inside are the two knives.) (Quick flashback to: The INTRUDER carries the bloodied knives to the kitchen. Opens the dishwasher. Then sets it. End of flashback. Resume to present.) BAILEY: Let's bag those for evidence, Ray. CAPT. RAY LAUNDRY: Yeah. JOHN: Bailey ... you should see this. (JOHN is in the next room looking at something. He shows it to BAILEY.) JOHN: Awful small shoeprint. (SAM stands on the side leaning against the door.) (Quick flashes of: A child standing on the carpet near the door. End of flashback. Resume to present.) BAILEY: Is your nephew here? We're gonna need to talk to him in Atlanta. CAPT. RAY LAUNDRY: Ok. (Camera holds on SAM, thinking.) CUT TO: [INT. FBI – VCTF – COMMAND CENTER -- DAY] (Opens on a monitor photo of NOEL BECKER. JOHN walks around the table. GEORGE sits in front of his laptop while SAM leans against the pillar sipping coffee.) JOHN: He was the local Mr. Green Jeans. Everybody loved him. Nobody wanted to see him hurt. GEORGE: Just dead, huh? He was retired. Exec for Smith-Kern, which is an oil company here in the south. He was a widower. 3 grown kids. They're gonna inherit a nice little nest egg. JOHN: Let's check to see if any of them are in any kind of debt or any kind of trouble. You think Becker was targeted or random? (JOHN sits down at the table.) SAM: I don't think it was about him. It's too violent too brutal. It's too much of a show. (SAM takes a seat.) SAM: Becker may have been the target, but I think there's more going on here than that. JOHN: Looks deliberate. SAM: Nothing's out of place. GEORGE: An organized killer. (JOHN turns to look at GEORGE.) GEORGE: See that? Getting the hang of this stuff, huh? SAM: But he didn't bring his own weapon. He used what was handy, and he left the back door wide open. (He looks at GEORGE.) JOHN: Sherlock? GEORGE: Um, he left in a hurry? SAM: Probably. That and ... it was an invitation. It was sort of a "come on in and see what I've done." He took a lot of pride in his killing. Very comfortable. He really enjoyed himself. (Quick flashes of: PAPA DOC'S dead body. The INTRUDER puts the bloodied knives in the dish washer. The toy model airplane on the dish washer. The open back door. End of flashes. Resume to present.) SAM: I think we're missing something. JOHN: Like what? SAM: I don't know, but he spent a lot of time here. He must've done something else. (BAILEY walks into the room.) BAILEY: Sam, Ray's here with Donny. CUT TO: [INT. FBI – VCTF – OFFICE – DAY -- CONTINUOUS] (DONNY sits on the couch while RAY LAUNDRY. SAM and BAILEY walk into the office.) SAM: Hi. You must be Donny. My name is Sam. How was your trip? RAY LAUNDRY: (surprised) He's never this shy. BAILEY: Would you like something to drink, Donny? You thirsty? I bet Uncle Ray knows what kind of soda you like. (BAILEY looks at RAY and motions for them to leave the room.) RAY LAUNDRY: (to DONNY) We'll be back. (When they leave, SAM sits down next to DONNY.) SAM: This is pretty scary stuff, huh? You know, I remember one time when something really terrible happened to a good friend of mine. I had to go down to the police station and tell them what I knew. And I didn't want to go, and I was really scared. (DONNY starts to sniffle and cry.) SAM: I just kept hoping that it was a bad dream and that any minute I was going to be able to wake up and my friend would be at home and we would be able to play together again just like nothing bad had happened. (DONNY wipes the tears from his eyes.) SAM: It's ok. You didn't do anything wrong. DONNY: You promise you won't tell my mom? SAM: I promise I won't do anything to get you into trouble. (He sniffles.) DONNY: Well ... my mom told me not to go to his house because it was dark. But I snuck out and went anyway. I had to have my laser gun. He fixed it for me. Then I saw him. SAM: You saw Mr. Becker? DONNY: No. The scary man outside. He was big, and he had this scary face. I didn't say anything when I got home. And now Papa Doc is dead. SAM: Who? DONNY: Mr. Papa Doc. He fixed our toys. He played with us and everything. (SAM stares at DONNY, stunned.) (Quick flashback to: PAPA DOC fixes a little blonde-haired girl's doll. End of flashback. Resume to present.) SAM: Donny, do you think that you could describe the man that you saw so that we could draw a picture of him? DONNY: (nods) Yeah. (RAY and BAILEY walk back into the office. RAY hands the soda to DONNY.) RAY LAUNDRY: Here you go. SAM: He did great. He's gonna be able to help us out a lot. (SAM stands up.) SAM: Excuse me. Could you excuse me for just a minute? (SAM leaves the room.) [BULLPEN] (SAM rushes out of the room and across the bullpen to go to her office. She passes JOHN. He holds up a folder as if he found some important piece of information.) JOHN: Hey, looks like Becker played the ponies, went to the track a couple of times a week. SAM: (dismisses it) That isn't why he was killed. [EVIDENCE ROOM/LAB] (SAM goes into the evidence room. She doesn't say anything and it starts to concern JOHN as he watches her. She reaches up and takes down a black light and the toy airplane found at the crime scene.) JOHN: You ok? SAM: No. (She plugs in the light, turns the overhead light off and the black light on.) JOHN: Sam? (She holds the black light over the toy model airplane. There's a message stretching across the wings: NOW I CAN KILL.) (JOHN stares at the message, the seriousness of this discovery written all over his face.) JOHN: Jack. SAM: (flatly) I knew Becker. JOHN: What are you talking about? SAM: We used to call him "Papa Doc". I didn't put it together until Donny said it. When I was a little girl, Becker was the nice man who used to fix my toys, too. (SAM looks at JOHN. Then she looks back down at the plane.) FADE OUT. FADE IN. [INT. FBI – VCTF – BULLPEN -- DAY] (BAILEY, SAM and JOHN exit the evidence room.) JOHN: "Now I can kill." What does that mean? SAM: I don't know, but it's not a coincidence. Nothing with Jack is coincidence. BAILEY: Why Becker? SAM: I have no idea. JOHN: So you haven't seen Becker in, what, over 25 years? (SAM stops just outside the office and turns around to look at JOHN.) SAM: Yeah. I didn't even know him as Becker. I knew him as Papa Doc. I must've been about four years old, and then we moved when I was five or six. He lived down the block. He had three children of his own, two boys and a girl. Anyway, Becker was the neighborhood fix-it guy. Anything went wrong, you just took it to Papa Doc. (COOP walks up to them.) COOP: Hey. CUT TO: [INT. FBI – VCTF – SAM'S OFFICE -- NIGHT] (SAM closes the file cabinet door and heads back to her desk.) SAM: Look, I'm sorry. I just forgot. COOP: Yeah, well, you know, I'm, like, trying to do some kind of guy thing here and be cool, like I'm not supposed to be disappointed, but ... but it ain't working. SAM: Look, Coop, I'm sorr -- I got really busy. COOP: What's going on? SAM: Nothing. I'm just ... in the middle of a case. (SAM sits down.) COOP: I know what that's like. (SAM doesn't answer him.) COOP: Damn it, Sam, why do I feel like the enemy all of a sudden? SAM: Look, you know, I really don't think that this is a good time for this, ok? COOP: When is a good time? SAM: Coop, I've apologized. I really don't know what else you want me to do. COOP: Not a thing. I shouldn't have come. (COOP turns and leaves the office. BAILEY walks into the office.) BAILEY: Sam! Donny's working with the sketch artist. SAM: Just -- I'll be right back. (SAM gets up from her desk and chases after COOP.) CUT TO: [GARAGE -- NIGHT] (COOP speeds through the garage in his car. SAM comes running out.) SAM: Coop! (Frustrated, she heads back to the stairwell door. It's locked.) SAM: Damn it. (SAM sighs and walks through the garage looking for another way in. The camera pushes in quick and close behind her as someone is approaching her. A hand reaches out and touches her on her shoulder.) SAM: Ooh. God, Bailey, you scared me. BAILEY: (angry) Well, you should be. What the hell are you doing? SAM: I know. I just left my card upstairs. BAILEY: Yeah. You're downstairs alone, no weapon. What are you thinking, Sam? SAM: I know, I know. Look, Bailey, I've been thinking about it, and I think that we should go back to the Becker crime scene and go over that place with a microscope. Jack may have left another message there. BAILEY: Already on it. The sketch from Donny's coming along very well. SAM: What does he look like? BAILEY: He's average height, beard ... no distinguishing characteristics. (BAILEY stops and looks at SAM'S car. She turns and she sees the message: NOW I CAN KILL. A long-stemmed red rose is tucked in through the driver's door.) SAM: Oh, my god. (BAILEY takes out his pistol and cocks it.) (SAM stares at the mess done to her car.) SAM: He was in here. Bailey, he was in here! (distraught) Chloe -- I got -- I have to get home. BAILEY: You can't go home, Sam. (SAM opens the car door.) SAM: I have to go home! BAILEY: We need this evidence. SAM: You want your evidence? (Nothing is going to stop her from getting to her daughter. She grabs a sweater from inside the car and rubs it against the message on her wind shield. She tosses it to the ground in front of BAILEY.) SAM: Here's your evidence. (She slams the door.) CUT TO: [INT. FBI – VCTF – BULLPEN] (BAILEY walks through the bullpen and heads straight for the lab. He puts it on the table in front of the lab technician.) BAILEY: (hard) I need this yesterday. (BAILEY turns around and heads back through the bullpen, shouting orders along the way.) BAILEY: Don, George! Command Center! Now! Steve, take forensics to the garage! STEVE: Right away. (Inside the Command Center, DONNY works with the sketch artist. The portrait is put on the monitor. BAILEY stops and stares at the sketch.) BAILEY: Hello, Jack. (Camera holds on the sketch of the man DONNY saw.) CUT TO: [INT. SAM'S PLACE] (CHLOE looks at the different colored stalagmites growing on the bottom of the fishbowl.) CHLOE: Look how fast they're growing. (She glances back and smiles at ANGEL.) ANGEL: Wow. Those are growing fast, huh? (SAM walks into the house.) CHLOE: I'm gonna put some more in there so they have some friends. ANGEL: Ok. (She walks slowly to the room relieved to see that they're all right.) CHLOE: Which ones are these gonna be -- stalagmites or tagmites? ANGEL: These are stalagmites. CHLOE: Mmm. I can never tell the difference. SAM: Sure, you can. (CHLOE looks up, her face breaking out into a huge smile.) CHLOE: Mom! (She runs to give her mom a hug.) ANGEL: Hey. (SAM picks her up.) SAM: Ohh. (CHLOE hugs her. SAM walks her over to the fishtank.) SAM: It is easy to remember the difference between these guys. You see, the stalagmite has the letter "m," and "m" stands for might, as in the stalagmite might grow up from the ground into a mountain. CHLOE: I got it, mom. SAM: Did you? Good. (SAM straightens and looks at the fish bowl.) SAM: (to ANGEL) Where did you get this? ANGEL: At the toy store. You know, right next to the art supply place. I had to pick up some things. SAM: But you bought it, right? I mean, nobody gave it to you? (ANGEL turns to look strangely at SAM.) ANGEL: (slightly offended) Yeah. We bought it. (SAM nods.) CUT TO: [INT. FBI – VCTF – COMMAND CENTER] (With the entire team in the Command Center, BAILEY gives out orders and assignments.) BAILEY: Ok, listen up, people! We're implementing operation Eagle Eye immediately! GEORGE: "Eagle Eye" is a drop-dead last resort in case a team is ever in danger. BAILEY: Jack's in Atlanta. He infiltrated downstairs. George, I want level-10 video surveillance engaged at the firehouse, including family quarters. I'll tell Sam it's in effect. John— (BAILEY sees that GEORGE hasn't moved.) BAILEY: (barks) Move, George! Now! (GEORGE opens his laptop to get started.) GEORGE: Yep. BAILEY: John, roll out five surveillance vehicles on Sam's block – (JOHN'S already on the phone making the call.) BAILEY: -- one on each corner, one circling at all times. This may be it, people! (claps his hands) Let's move! CUT TO: [INT. SAM'S PLACE -- KITCHEN] (ANGEL busies herself while making tea while SAM holds CHLOE. They're sitting at the kitchen table.) SAM: Why don't I give you a bath, then you can drift off to dreamland. CHLOE: I can give myself a bath, mom. ANGEL: Aww. Let your mom give you a bath. I'll let you use my new bath gel. CHLOE: Okay. SAM: Go on. (CHLOE leaves the kitchen. SAM watches her go, then stands up to follow her. ANGEL stops her.) ANGEL: He's back, isn't he? (SAM stops. She turns and looks at ANGEL.) (She nods.) (Camera holds on ANGEL. ANGEL looks up at the security cameras in the kitchen and we see that the red light is on.) (SAM also looks up at the camera.) CUT TO: [VIDEO FEED] (From the monitor: SAM walks out of the kitchen. Camera moves around and we see that we are back at the [INT. FBI – VCTF – COMMAND CENTER – CONTINUOUS] (BAILEY, JOHN and GEORGE watch the feed on the monitor.) BAILEY: I have forensics back at the crime scene going over every heartbeat one more time. John, I don't care. Call Washington. Have them overnight their entire forensics lab. When we're done with that scene, I want to know what kind of shampoo Jack uses. GEORGE: Yeah. You're assuming this slug showers. How long has he been taunting Sam? BAILEY: "Taunt" isn't the word I'd use. GEORGE: Why? What do you mean? BAILEY: Victim 13 -- that's her husband. GEORGE: (horrified) Jack killed Tom? (On the monitor, they see SAM carry out a file box and head back to the living room.) BAILEY: That's why she left the Bureau, part of the reason why she's here -- to help get the bastard. (BAILEY walks away from them.) CUT TO: [INT. SAM'S PLACE -- CONTINUOUS] (ANGEL watches as SAM opens the box and takes out some files. She puts it on the table next to her laptop.) ANGEL: All this security is not because Jack's back, is it? There's more. (SAM starts to type, then stops.) SAM: Yeah. ANGEL: So are you going to tell me, or do I have to wait until James Bond lands on the roof? SAM: The case that we're working on -- the man that he killed -- I knew him. (The computer beeps.) ANGEL: What? (SAM looks at the monitor.) SAM: I knew him ... when I was a child. It was, um, before I met you. ANGEL: Well, this isn't a coincidence? SAM: No. (ANGEL reaches for a file inside the box and flips through it.) ANGEL: What is all this stuff? SAM: These are murder books on each of Jack's victims. ANGEL: You have ... your own copies at home? And pictures? I don't believe you. SAM: Angel? ANGEL: What? SAM: (reading) Does the name Rose Harrison ... Well, actually, her maiden name was Rosie Nelson. Does that mean anything to you? ANGEL: She ran our bookmobile, Sam. (Quick flashback to: Camera zooms into the parked bookmobile and the kids around it. Flash of a smiling woman inside the mobile. End of flashback. Resume to SAM.) SAM: What if I knew them all? (SAM and ANGEL share a look with that horrifying thought.) FADE OUT. FADE IN. [INT. FBI – VCTF -- HALLWAY] (SAM and BAILEY walk through the hallway as SAM shares her recent discovery with him.) SAM: I didn't know her as Rose Harrison. I knew her as Rosie Nelson. BAILEY: She was victim 15, murdered in '94. This is when we were off the case. Are you sure on this one? SAM: Yeah. Every Wednesday, the bookmobile would come to the grocery store in our town. Angel and I spent hours there. Rosie used to let me check out extra books. I'm sure. [COMMAND CENTER] (They reach the command center. JOHN greets them. The rest of the team is there.) JOHN: What order are we doing this in? Victim, cause of death, location? What? BAILEY: Basic time line, basic stats. Think of it as finals week. (GEORGE works on his computer.) GEORGE: Where's the keg? BAILEY: You ready, George? GEORGE: Yep. Ok, I got them. (On the monitor, GEORGE puts up thumbnail photos of all the victims. Everyone is silent as they look at the photos of all the victims.) (SAM looks up and sees the photo of her husband. She looks down, gathers herself, then starts.) SAM: Jack killed all of these people. They were librarians, postal workers, mothers, fathers. Victim 13 ... victim 13 was my husband, and ... I also knew victims 15 and 18, both from when I was a child. (SAM sits down. GEORGE doesn't take his eyes off the photos.) GEORGE: Do you think you knew all of them, Sam? BAILEY: We don't know. We've never been able to find a pattern to what he does -- how he chooses his victims, how he kills them. He never kills the same way twice. If Sam is the link, then we've found the common thread. JOHN: You didn't actually join the case until when, uh, '91? SAM: Yeah. Donald Franklin. He was the eighth victim. You think we should start there? BAILEY: Not good enough. I want to start with his first victim -- at least the first victim we know about. George? (GEORGE hits a button on the keyboard and all the photos disappear except for the photo of victim one. It enlarges and stats appear on the monitor.) BAILEY: March 1988. Cincinnati, Ohio. (BAILEY marks the map. He puts a circle on the area and marks it with a "1".) BAILEY: Janice Fletcher, 37, mother of four, strangled in the kitchen when she was putting away groceries. (Quick flash to: JACK wearing gloves and wrapping the wire around his knuckles. Flash to a garbage bag. End of flashback. Resume to present.) BAILEY: Left on the countertop was a children's book on the Golden Role. It was Jack's first message. (SAM glances to the monitors where she sees CHLOE playing with DENZEL.) GEORGE: How do you know it wasn't one of her kids' books? BAILEY: That's what we thought at first. Then, when I brought Sam on the case, she went back and found that he left a message at every scene. SAM: June '88, Jack's second victim. (The monitor pictures change to show the second victim.) SAM: Davy McClintock, 28, Monroe, Ohio ... 30 miles southeast of Cincinnati. Davy worked with young boys at a summer camp. He was found stabbed to death in a chapel. In one of the pews, a bible was opened to the scripture, "suffer the little children to come unto me." (Quick flashback to: The bible. The knife. The bible. End of flashback. Resume to present.) JOHN: So what's the connection here? BAILEY: Luck. Local cop was dating the detective working Fletcher's case. He had mentioned that the ligature she was strangled with was an electrical cord. It was found that McClintock's hands were bound with the same type of cord. SAM: Next is February '89. Bill Watkins. (The third victim's photo and stats appear on screen.) BAILEY: Omaha, Nebraska. Still no similarities ... (Dissolve to: SAM stands near the map while BAILEY sits down at the table. A different photo is on the monitor.) SAM: December 1990, victim number 6. Maude Martin, 31, Yukon, Oklahoma. This is the first time Jack began showing signs of remorse. He stabbed her to death with an ice pick, then covered her face before dragging her body down near a lake. (Quick flashes of: Close up of an ice pick. The body with her face covered. A blurred face contorted and screaming. End of flashback. Resume to present.) SAM: He didn't want her to see him BAILEY: He's getting smarter now, more careful. (Dissolve to: BAILEY walks over to the map.) BAILEY: Next, Los Angeles. Number 8. This is when I brought Sam in. (SAM turns her head and she sees ANGEL opening the refrigerator.) BAILEY: May '91. Donald Franklin, 19, drowned. (The photo on the monitor changes.) BAILEY: Found chained to the bottom of a swimming pool. JOHN: What was the message here? SAM: It was the first thing that I noticed at the crime scene. It was a paperback-- a murder-mystery set in Ohio. (Quick flashback to: The chained body on the side of the pool. A paperback book: "Death Comes to Ohio". End of flashback. Resume to present.) SAM: The victim was strangled with an orange electrical cord. (She looks around the table. Dissolve to: BAILEY: Victim 11. ... Doctor Dexter Nelson, 61, Fairfield, Alabama, February '92. JOHN: I remember this one. It was all over the news. Jack did surgery on this guy. (Quick flashback to: JACK puts on his latex gloves and picks up a knife. End of flashback. Resume to present.) BAILEY: He was showing off. It's also the first time he directed a message specifically to Sam. SAM: Yeah, this was the first one we found with a black light. (Quick flashback to: On the mirror are the words: HI SAM. Flash to the bouquet of long-stemmed red roses on the bed. End of flashback. Resume to present.) SAM: Then he started calling me, sending me flowers. BAILEY: And he kept killing. Vera Lewis, victim number 12. September '92. (The photo on the monitor changes.) BAILEY: 35, postal worker, Jackson, Mississippi. GEORGE: Is this the one with the dog? (SAM looks at the photo on the monitor with the victim and her dog.) BAILEY: Lewis was injected with an active strain of rabies virus. (Quick flashbacks to: The vial of blood. The syringe. End of flashback. Resume to present.) BAILEY: Jack strangled her dog with its own leash ... (Quick flashback to: Photo of the dead dog. Photo of the victim. End of flashback. Resume to present.) BAILEY: Drove her home, dumped them both in the front yard. seven days later, she died of rabid asphyxiation. (The picture on the monitor changes.) BAILEY: Victim ... um ... 13. (SAM looks up and sees the photo of her husband. She swallows back tears. Camera holds on the photo. It's just too much for SAM. She gets up and leaves the room.) (She bursts out of the command center and rushes through the bullpen. She bumps into an agent, but doesn't stop.) AGENT: Excuse me. (She runs into her office. BAILEY leaves the Command Center and follows her to her office. He opens the door and finds SAM sitting on the floor huddled near the wall, her arms hugging her knees to her chest.) (He walks in and heads toward her. When he reaches her he sits down on the floor next to her) SAM: (crying) When I was a little girl ... I fell into this patch of poison ivy once, and ... it was horrible. Uh, my ... my eyes swelled shut and ... I couldn't see and I couldn't eat or sleep. It hurt me so bad, my mother ... she couldn't even touch me. She just, uh ... she just kept saying ... (whispers) "Hold on, Sam. This isn't gonna last forever." She said that, uh ... every time I thought about how badly it burned, I was a heartbeat closer to the moment when it would be gone. (BAILEY looks compassionately at SAM.) BAILEY: (quietly) Hold on, Sam. SAM: What if he doesn't like the movie that I go see? Is he gonna kill the kid who sold the ticket? (She wipes the tears from her eyes and composes herself. She gets to her feet and takes a couple steps toward her desk.) SAM: (all business) Bailey, I think I want to take a closer look at victim number 9. BAILEY: Patty Hoffstadt? (BAILEY gets to his feet.) SAM: Yeah. After I came on board, Donald Franklin was the first victim where I figured out that Jack was sending us messages. Patty was number two for me. BAILEY: Did you know her? SAM: I hope not. CUT TO: [EXT/INT HOFFSTADT RESIDENCE -- DAY] (SAM walks to the front door. She rings the doorbell. MRS. HOFFSTADT answers it.) MRS. HOFFSTADT: Hello, Ms. Waters. Please, come in. (SAM steps into the house.) SAM: Thank you for seeing me. MRS. HOFFSTADT: I always wanted to thank you. You were very kind to us when Patty died. I know we weren't easy. SAM: Mrs. Hoffstadt -- MRS. HOFFSTADT: But especially for the note you sent us. (The thank you puzzles SAM. It's obvious that she hadn't sent the note.) SAM: Note? MRS. HOFFSTADT: In your Christmas card. The first Christmas was horrible. You made it a little more bearable. SAM: I'm very sorry, Mrs. Hoffstadt. Actually, that's why I'm here. We're going over the cases again, and I was wondering if you had kept Patty's things. I'd like to go through them again. MRS. HOFFSTADT: Of course. CUT TO: [PATTY'S ROOM – CONTINUOUS] (SAM walks into the room and looks around. She notices the pair of ballet slippers hanging from the bedpost.) (Quick flashback to: PATTY HOFFSTADT dead. End of flashback. Resume to present.) (Dissolve to: SAM walks over to the desk and leans over to look at it's contents.) (Dissolve to: SAM walks around the room and stops in front of a closed music box. She opens it. The music starts. Inside there's a photo. SAM picks the photo up and looks at it.) (It's a photo of five little girls in pink tights and tutus. Camera pushes in slowly on the photo.) CUT TO: [INT. FBI – VCTF – BAILEY'S OFFICE] (SAM reports back to BAILEY. He's holding the photo.) SAM: Patty Hoffstadt and I took ballet together in the first grade. BAILEY: This makes 4 out of 18. SAM: Yeah. And I didn't send them a Christmas card, Bailey. BAILEY: Jack. SAM: Mm-hmm. You know, I keep thinking, uh ... do you remember when the L.A. Press misquoted me and said that I called him a "Homicidal Jack-of-all-Trades"? I didn't say that, but, you know, they said that I did and, uh, he started to show signs of remorse, you know, I keep thinking that maybe he would've stopped killing, but then ... I came along, I gave him this identity. I feel like I gave him a purpose. BAILEY: Jack's the one responsible, not you. Now, let's not overreact on this. (SAM stares at BAILEY, slowly getting angry over his choice of words.) SAM: (upset) Overreact? You think that I am over-reacting? The guy is killing people that I knew in grade school, Bailey! Maybe, you know, maybe you should try overreacting! (SAM walks out of the office. BAILEY puts the photo down on the desk hard.) CUT TO: [EXT. SIDEWALK -- DAY] (SAM walks along the sidewalk.) (Also walking is someone holding a long-stemmed red rose and wearing black.) (Camera follows SAM from behind.) (Cut to: Someone carrying the rose. He's wearing a brown leather jacket.) (Cut back to: SAM still walking, thinking. Her arms are crossed in front of her, wrapped around her midsection.) (Cut to: The MAN carrying the rose continues to follow SAM.) (Camera follows SAM from behind.) (Several cuts of SAM and the MAN following SAM.) (A car rushes forward, tires screech. It comes to a halt near SAM. An AGENT steps out of the car.) (The person following SAM drops the rose to the sidewalk.) AGENT: Move! FBI! Up against the fence! (The AGENT grabs COOP and pushes him up against the fence.) COOP: Hey! Wait a minute! I'm A.T.F.! (SAM sees COOP and climbs over the car to stop the AGENT.) AGENT: I don't care who you are! SAM: He's a friend. It's all right. COOP: You got better protection than Hillary Clinton here. Give me my badge. Put the gun down! (He yells at the two AGENTS pointing their guns at him.) COOP: What's going on? What's going on? SAM: I'll tell you. CUT TO: [INT. FBI – VCTF -- CONTINUOUS] (COOP is back in the office trying to absorb what SAM'S just told him.) COOP: Listen... so if nobody is safe ... let me help. SAM: Nick, you have to testify in court, remember? COOP: Yeah. SAM: What time is your train? COOP: It's in an hour, but I could probably do it next week or something. I could call in. SAM: I don't want you near me right now. COOP: Sam, I'm not afraid of this guy. I take apart bombs for a living, I can damn straight deal with a piece of dirt like this. SAM: I know. It's just that I think that the closer you are to me, the more danger we're both in ... so go to Memphis, ok? (COOP sighs.) COOP: Yeah, I'll go to Memphis ... but I'm coming back. SAM: Ok. CUT TO: [INT. FBI – VCTF – COMMAND CENTER] (Open on the wall screen monitor. Using the letters in the latest message, GEORGE tries different letter-word combinations.) GEORGE: (mutters) Clown ... clown ... (SAM and JOHN walk into the command center.) SAM: Any luck? GEORGE: No, not yet. "Now I can kill." Who is he going to kill? JOHN: That's the question. (SAM takes the seat near GEORGE.) SAM: Did you run the infinite program? GEORGE: Twice. JOHN: And? GEORGE: Um, nothing. SAM: Maybe you missed something. BAILY: George ... highlight victim number 11. (GEORGE puts the thumbnail photos of the victims back on the monitor. The photo of victim 11 enlarges and appears on the monitor with his stats.) BAILEY: That's the doctor that delivered you. JOHN: That makes five. SAM: "Now I can kill." There's got to be something there. JOHN: Come on, the guy's not going to send us a message telling us who the next lucky contestant is. SAM: Ok, look, let's start with a clean slate, ok? GEORGE: Ok. First I married all of the vowels with each of the consonants, trying to come up with some combination that makes any sense at all. Now, normally, what that does – (Quick flashback to: The words on the airplane. End of flashback. Resume to present.) SAM: Wait, wait, wait, wait. Put it back where it was. (GEORGE puts the original message on screen.) SAM: Now highlight the first letter of each word. (He does and a new word forms: NICK.) (SAM stares at the screen.) SAM: Coop is next. CUT TO: [INT. BROOKWOOD STATION -- DAY] (COOP walks through the waiting station and takes a seat. He drops his carry-on bag and opens the paper.) (A MAN wearing jeans, a green shirt and brown leather jacket steps near COOP.) MAN (JACK): (twangy accent) Excuse me. Is that seat taken? COOP: No. (The man walks around COOP and sits down.) MAN (JACK): (sighs) Ahh. (He removes his cigar. COOP continues to read his paper.) FADE OUT. FADE IN. [INT. BROOKWOOD STATION -- DAY] MAN (JACK): And I said, that ain't no possum, that's my fiance. (They both laugh. The man takes out a flask and pours them both a drink.) MAN (JACK): You know, I love Memphis. COOP: Never been. MAN (JACK): Oh? Graceland, right? COOP: Elvis. Long live the king. "Are you lonesome tonight?" (He picks up his Styrofoam cup and they toast.) MAN (JACK): Heartache. Nothing but heartache. (COOP glances at the MAN.) CUT TO: [INT. FBI – VCTF -- BULLPEN] (The VCTF Bullpen is bustling with activity and barely suppressed excitement. BAILEY walks out of his office and down the stairs into the bullpen loading his weapon as he shouts instructions to the AGENTS.) BAILEY: Ladies and gentlemen, listen up! There's a better-than-nothing chance Jack's at Brookwood station! I want a chopper on us all the way. JOHN: Joey, get me snipers and wire them! I want all four sides of the station scoped! GEORGE: The lane closed back-up five minutes away from the station. Everybody is wired on the same frequency. BAILEY: Tell them we're ten minutes away. (SAM walks across the bullpen.) JOHN: Okay, Ladies and Gentlemen! It's time for a take down! CUT TO: [INT. BROOKWOOD STATION -- DAY] (The MAN lights a cigarette.) COOP: I'm single. You? MAN (JACK): The same ... but there is one lady in my life. COOP: Actually, there's a lady in my life – MAN (JACK): (interrupting) You got the time? COOP: It's 10:32. MAN (JACK): Pass me a hunk of that paper, boss. I got to use the bathroom. (COOP hands him the paper.) COOP: You got it. MAN (JACK): I'll be back in a second. (The MAN gets up and leaves. COOP takes out his gum. The MAN glances back at COOP, then turns and heads over to the left. The MAN enters the bathroom.) CUT TO: [INT. BROOKWOOD STATION – BATHROOM – DAY -- CONTINUOUS] (Inside the bathroom, a father helps his son wash his hands. The MAN walks into the bathroom and sees the FATHER with his SON.) FATHER: Hold it. SON: No. FATHER: Is that too much? Now, use some soap. SON: No, daddy. No. (The MAN tosses his cigarette in the urinal, then heads for a stall. He closes the door behind him.) [BATHROOM STALL] (The MAN puts his bag down on the toilet and opens it.) CUT TO: [INT. BROOKWOOD STATION -- DAY-- CONTINUOUS] (BAILEY and the VCTF team run into the station.) BAILEY: Fan out. Take your positions. AGENT: Right. Yes, sir. (They spread out.) CUT TO: [BATHROOM STALL] (The MAN removes his wig and places it in the bag. He then removes the latex sheath covering his head. With his other hand, he ruffles his hair. He puts the latex cap in his bag.) [CLOSE UP: EYES] (The man peels off the layers of latex skin and make-up.) CUT TO: [INT. BROOKWOOD STATION -- DAY-- CONTINUOUS] (BAILEY carefully watches the crowds. JOHN keeps his eyes on the crowds.) (In the distance, the FATHER and SON, the one from the bathroom, walk out and into the station.) CUT TO: [BATHROOM STALL] (The MAN continues to take off the latex skin. He peels off his fake moustache and beard. He puts them in his open bag.) CUT TO: [SAM] CUT TO: [BATHROOM STALL] (The MAN continues to peel off the skin. He removes his fake teeth.) CUT TO: [INT. BROOKWOOD STATION – DAY -- CONTINUOUS] (SAM sees COOP sitting and reading the paper.) SAM: Bailey, the guy in the blue windbreaker. Coop's right behind him. BAILEY: John, move in. JOHN: I got him. (JOHN stands up, picks up a paper and heads for COOP.) (JOHN sits down next to COOP.) JOHN: (he sighs) Ahh. Hey, man. (JOHN looks at COOP.) COOP: Hey, man. What you doing here? JOHN: We got plainclothes all over the place. COOP: What's going on? (JOHN holds out the newspaper to COOP.) JOHN: Read the sports? COOP: I already read 'em. JOHN: Read them again. (COOP opens the paper and finds a folded piece of paper inside.) JOHN: We think he's here ... (JOHN levels a look at COOP.) ... looking for you. (COOP opens the paper to find the composite.) JOHN: You seen him? COOP: Oh, my god. Man, he's in the john. He's been in about five minutes. (COOP launches himself out of his seat. JOHN hurries to stop him.) JOHN: Hey, hey, hey. COOP: Yeah? JOHN: (softly) Just calm down, COOP: Yeah. JOHN: All right? COOP: Yeah. JOHN: I need you to calm down. COOP: Okay. JOHN: I know how you feel about it. COOP: Yeah. JOHN: All right. COOP: (loudly) He told me he was going to the bathroom! JOHN: (calmly) I understand that. What I need you to do is calm down. I need you to stay out here, I need you to scan the crowd, because he may have come back out here. Ok? (COOP starts looking around at the crowd.) COOP: Okay. JOHN: You with me? COOP: Yeah, yeah. I'm with you. JOHN: Ok? COOP: I got it, I got it, I got it. I got it, I got it. (JOHN gives COOP a radio.) JOHN: Keep in touch. COOP: Yeah. (JOHN steps away from COOP.) CUT TO: [BATHROOM] (A man in a wheelchair wheels himself into the bathroom, his bag resting on his lap. The bag falls to the floor as he reaches the stall door. The MAN picks it up and tries to get the stall door open.) (The next stall door opens and JACK walks out.) MAN (JACK): (no accent) Let me help you there, brother. (He unlocks the stall door and opens it for the MAN in the wheelchair.) WHEELCHAIR MAN: Thank you. (The MAN in the wheelchair enters the stall. JACK stands by.) CUT TO: [INT. BROOKWOOD STATION -- DAY] (COOP looks around the station.) COOP: (to radio) You see him? You close? BAILEY: We're right behind you Coop. Just stay put. (to radio) Bring in the next back-up, John. Now. (JOHN walks in with two AGENTS behind him to help look around the station.) (SAM looks around and sees the man in a wheelchair.) (JOHN and the two AGENTS approach the men's bathroom.) (JOHN checks with the two AGENTS. They nod. JOHN slips inside the bathroom.) [BATHROOM] (With his gun drawn, JOHN checks the bathroom slowly and cautiously. He checks the first stall. It's empty.) [INT. BROOKWOOD STATION – DAY -- CONTINUOUS] (SAM looks at COOP. They wait.) [BATHROOM] (JOHN pushes the second stall door open. It's empty, also.) (He moves to the handicapped stall and finds the dead body of the MAN in the wheelchair on the floor.) (JOHN looks up and around.) CUT TO: [INT. BROOKWOOD STATION -- DAY-- CONTINUOUS] (BAILEY waits for word.) INTERCUT WITH: [BATHROOM] (JOHN checks the man's pulse. JOHN: Got a body in here. No Jack. Just me and Mr. Lucky. BAILEY: Where the hell is he? (SAM shakes her head.) SAM: No way. He's here. BAILEY: All plainclothes, cover interior exits, the rest press out. (BAILEY and the AGENTS start to run across the station to search for JACK. SAM walks over to COOP.) COOP: Okay. I had the guy. He was sitting right next to me. SAM: Coop, go outside, please. Enough. COOP: I'm not going anywhere till we got this guy! SAM: Coop, please, you can make it – please, go outside, all right? (COOP turns and leaves.) COOP: All right. You be careful. SAM: mm-hmm. (SAM looks around the station. Her eyes fall on the empty wheelchair. She stares at the wheelchair.) (Quick flash to: JACK gets up out of the wheelchair. End of flashback. Resume to present.) (On the opposite end of the station, she sees someone just barely closing the door behind him.) (Quick flash to: JACK walks into the door. End of flashback. Resume to present.) (SAM runs toward the door.) [BACKROOM] (SAM enters the backroom. She takes out her gun and cocks it. She pushes the door open with her foot and cautiously makes her way through the back corridor.) (She walks to the first door and checks it. It's locked. She checks the second door. It's locked also. She continues.) (An object falls and breaks, the noise echoing in the empty hallway. SAM turns and raises her firearm in front of her.) (She continues forward.) JACK: (o.s.) (whispers) Samantha. (SAM turns around and holds her gun out in front of her.) JACK: (o.s.) Finally. Samantha. (She walks toward the darkened shadows in front of her.) (JACK inhales deeply.) JACK: (o.s.) You smell so clean. (SAM turns around again and again trying to find JACK.) JACK: (o.s.) Talk to me. Come on. Talk to me. SAM: You brought me here. Why don't you talk to me? JACK: (o.s.) I like that. That's good. SAM: I wouldn't be here if I wasn't good, now, would I? JACK: (o.s.) Neither would I. (She turns around when she hears a noise. JACK sounds as if he's all around her. It's nearly impossible to discern where his location is merely by the sound of his voice.) JACK: (o.s.) So beautiful. So untouchable. Don't worry. Everything's under control. SAM: Is it? JACK: (o.s.) Isn't it? SAM: Why did you choose me? JACK: (o.s.) Eeny-meeny-miny-moe. SAM: (loudly) Why me?! JACK: (o.s.) Because I know thy work, thy labor, and thy patience. And I know thou canst not bear those who do evil. BAILEY: (o.s.) (far away) Sam! (SAM turns around.) JACK: (o.s.) Don't answer. This is our time. SAM: You speak in nursery rhymes, you speak in scripture. Why don't you use your own voice? JACK: (o.s.) I need you, Samantha. I'll waste away without you. SAM: Then I'll leave again. JACK: (o.s.) You'll never leave. Don't you remember? You left your first love to be with me. SAM: (upset) (crying) Don't you say that! Don't you say that! JACK: (o.s.) I've upset you. I'm sorry. SAM: You will never have me! JACK: (o.s.) You know that isn't true. SAM: You will never have me! BAILEY: (o.s.) (closer) Sam, where are you? SAM: Bailey, I'm here! (And suddenly, BAILEY is there, gun drawn. He makes his way toward SAM.) (They both search for JACK.) (Off in the distance, there's a noise and they see a shadow of a man running away. They turn and fire.) (BAILEY runs in persuit. SAM follows.) [EXT. – TRAIN TRACKS – DAY – CONTINUOUS] (BAILEY and SAM step outside. They look around and they don't find him.) (BAILEY reholsters his weapon as he heads back to SAM.) BAILEY: We lost him. SAM: No. He's here. (JOHN and the AGENTS join them.) JOHN: We searched everywhere! He's gone. (JOHN and the AGENTS turn around and leave. BAILEY walks toward SAM.) BAILEY: Sam, he's gone. SAM: (upset, voice breaking) No, he's not gone! He's here, all right? I saw him. I felt him. He is here. (BAILEY walks toward SAM and wraps his arms securely around her. He holds her as she cries.) BLUR TO: [INT. FBI – VCTF – SAM'S OFFICE -- NIGHT] (SAM and COOP are in the office, the lights are dim and they have their arms around each other.) SAM: So when's your plane? COOP: It's in a few hours. But I guess I might as well be hitting the road, huh? SAM: You know how I feel, don't you? COOP: Yeah. And you know how I feel. Ain't love grand? (She shakes her head.) SAM: No. Not when you can never be alone with each other. Not when your every move's videotaped, even in your own home. That's not love, Coop. COOP: No. No, it's not. But it's not us, either. It's just what's around when we're together. You know I'm here for you, right, Sammy? (She nods.) COOP: I mean it. Anytime, day or night. You just pick up the phone, I'll be here. (She nods again.) SAM: Ok. (They look at each other, then kiss.) (He stands up and they walk out of the small office.) (She brushes his hair with her fingers.) SAM: You take care. (He kisses the palm of her hand.) COOP: You, too. (COOP walks across the office. When he reaches the other side of the room, he turns around and motions to her. He leaves. SAM watches him leave.) (GEORGE walks up to SAM.) GEORGE: Sam, good news. The man that Jack killed at the train station -- Grace just found a print near his collarbone, and it's not the victim's. Why don't you come see? (GEORGE walks away. SAM doesn't immediately follow; her thoughts are still with COOP. After a moment, she walks through the bullpen into the Command Center.) 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 1X06: MODUS OPERANDI ORIGINAL AIR DATE ON NBC: 11/09/1996 TRANSCRIBED FROM COURT TV 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 Special Guest Star: A. MARTINEZ as Nick "Coop" Cooper ROSS BAGELY HARRISON PAGE ANNE GEE BYRD DON KEEFER Co-Producer: JOHN FORREST NISS Produced by: ANTHONY SANTA CROCE Supervising Producer: CYNTHIA SAUNDERS Creative Consultant: KEN SOLARZ Executive Producer: LARRY HERTZOG Co-Executive Producer: NANCY MILLER Written by: BOB LOWRY Directed by: JACK BENDER ========================== END CREDITS ========================== Sanders/Moses Productions NBC Studios NBC Enterprises 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: CAROL GREEN 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. CASSELLS Art Department Coordinator: JANIENE KURI Costume Supervisor: SUSANNA T. SANDKE Set Decorator: RICHARD REAMS Property Master: BLANCHE SINDELAR Make-up Artist: CRISTINE CHADWICK Hair Stylist: TAMMY KUSIAN Production Auditor: BETHANY BROWN Script Supervisor: JANEL F. REEVES Production Coordinator: JANE EVERETT Assistant to Executive Producer: NICHELLE M. PROTHO 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: KERRY MICHAEL TYM Music Editor: KIM NAVES Re-Recording Mixers: MIKE GETLIN / DEAN OKRAND / BILL THIEDERMAN Da Vinci: RICK DALBY Telecine: MACE JOHNSON Autopsy Equipment Provided by SHANDON LIPSHAW 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 Dedicated to the Memory of JON SEPLER ========================== 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:12/03/2003~lky http://www.webphilia.com/~anthology/wnp.html