PROFILER 1X11: DOPPELGANGER ORIGINAL AIR DATE ON NBC: 01/18/1997 TRANSCRIBED FROM DVD Written by: BOB LOWRY Directed by: JOHN PATTERSON Transcript by Intrepid Courtesy of http://www.webphilia.com/~anthology/wnp.html Please do not archive this transcript without permission from the Transcriptionist. ========================== 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: Arthur DeRhodes, the first person Sam ever shot, asks her for help. Jack continues his efforts to isolate Sam by targeting Angel. ========================== PROFILER 1X11: DOPPELGANGER ========================== FADE IN. [INT. JACOB KLEIN'S RESIDENCE- DAY] (Camera moves quickly around the room.) (An alarm rings. The man on the bed gets up and we see that his nose and mouth are taped up securing a tube coming out connected to a tank in the bathtub.) (The tank is labeled POISON and it's being fed into the tube taped to the man's mouth.) (The man gets to his feet, his hands tied, his ankles chained. He hops across the room trying to get free. The chain is attached to the bed.) (The man's vision blurs.) (The man reaches the end of the chain and falls to the floor, struggling.) (The pressure gage on the tank reaches critical.) (The man is dead.) FADE TO END OF TEASER ROLL TITLE CREDITS (COMMERCIAL SET) FADE IN. [INT. SAM'S RESIDENCE - KITCHEN -- MORNING] (ANGEL is eating breakfast at the table and reading a postcard when SAM walks in and sits down.) ANGEL: Did you see this post card Chloe sent? SAM: Yeah. I think your grandmother has taken her to the zoo, like, six times this week. (SAM pours herself a glass of juice.) ANGEL: Oh, listen, should you happen to, by some unimaginable fluke, finish work before I do, try not to eat dinner, ok, so we can order a pizza when I get home. SAM: (automatically) That sounds good. (SAM opens the paper then what ANGEL just said registers. She looks at ANGEL.) SAM: What do you mean, 'if I finish work before you do'? ANGEL: You forgot, didn't you? SAM: Forgot what? ANGEL: I start my art class tonight, teaching the kids at Hoffman House. SAM: Oh, right. No, right. Great. ANGEL: You are unbelievable, you know that? You can remember what color socks some killer wore a hundred years ago, but you cannot remember a simple conversation that took place yesterday. SAM: No, that's not true. No, I did remember. I just forgot. (They share a laugh.) SAM: I think it's wonderful. I really do. (The phone rings; SAM stands up to answer it.) SAM: I'll get it. ANGEL: Ok. (She picks up the phone.) SAM: (to phone) Hello? DEBRA: (from phone) Dr. Waters? SAM: Mm-hmm. DEBRA: (from phone) It's Debra, at V.C.T.F. I'm sorry to disturb you at home, but I have a caller who says it's an emergency. Shall I put him through? SAM: Well, who is it? Did they give a name? DEBRA: (from phone) Yes. It's Arthur DeRhodes. (SAM hesitates for a moment, the mention of the name affecting her.) SAM: Yes, go ahead, put him through. DEBRA: (from phone) Go ahead, please. ARTHUR DERHODES: (from phone) I hope I didn't wake you. (Quick black and white flashes of: A man running through the trees. A chain on the ground. The man running through the trees. A close up of a pressure gage. The man runs through the trees. End of flashes. Resume to SAM.) ARTHUR DERHODES: (from phone) I'm sorry that I haven't stayed in touch. SAM: Why are you calling me, Arthur? ARTHUR DERHODES: (from phone) I need your help. CUT TO: [INT. VCTF - COMMAND CENTER - DAY] (BAILEY walks toward JOHN who's sitting at the conference table.) BAILEY: John, I want you to flush out the most recent developments in this counterfeiting ring in West Orange, New Jersey. JOHN: You bet. BAILEY: Sam, character breakdown, California, Texas immigration murders on my desk this afternoon. SAM: Uh, Bailey, there is something else that I would like to check out first. I got a call this morning from the Lasalle institution outside of Hartford. BAILEY: I was gonna mention that later ... in private. (Feeling the tension between the two, JOHN slowly rises from his seat.) JOHN: I can leave. SAM: Not necessary. BAILEY: Who called you? SAM: Arthur DeRhodes. BAILEY: Do not engage with this man. He's playing off your guilt. JOHN: (puzzled) Guilt? What happened? (BAILEY hands JOHN the file. He immediately begins to look through it.) JOHN: Hmm. "Lasalle Institute for the Criminally Insane. Jacob Klein, psychiatrist, found dead in his cottage on the grounds of the institution. Murdered by coerced inhalation of an organic phosphate-type compound." BAILYE: A signature and technique indistinguishable from that of convicted criminal Arthur DeRhodes. Six years ago, during his apprehension, Sam put a bullet through him, almost killed him. What did he say this morning? SAM: Well, it was odd. He said that he needed my help. BAILEY: The last time you helped a sociopath, you put him in an institution ... for the criminally insane. SAM: Yeah, I know. That's why his call intrigues me. BAILEY: Ok. Be intrigued. Washington needs that report this afternoon. That's our priority. JOHN: What I want to know is if DeRhodes was locked up last night, how did he get his hands on a tank of nerve gas? CUT TO: [EXT. CONNECTICUT (STOCK) -- DAY] LEGEND: HARTFORD, CONNECTICUT CUT TO: [EXT. LASALLE INSTITUTE FOR THE CRIMINALLY INSANE - PARKING LOT -- DAY] (SAM finds MARION WEXLER in the parking lot.) SAM: Excuse me. Excuse me. My name is Samantha Waters. I'm with the FBI. I phoned earlier. MARION WEXLER: Yeah, Marion Wexler, sheriff. I heard you were coming. I can't believe the fruitcake talked you into it. SAM: I'm sorry? MARION WEXLER: Dr. Kaiser over at the hospital told me DeRhodes gave you a little jing-a-ling. SAM: Yes, he asked me to look into it. MARION WEXLER: I'm gonna ship him to a federal pen as soon as I can do the paperwork. SAM: You have enough to charge him? MARION WEXLER: Hell, yes, I have enough to charge him. He's here because of seven murders. He's going to the pen for this one. (SAM nods.) Hey, you mind if I give you a little piece of advice? SAM: Please. MARION WEXLER: If you're considering talking to DeRhodes for just an instant, you're making a dangerous misjudgment. He's an evil, scheming, manipulative subhuman. SAM: I see. Well, thank you. CUT TO: [INT. LASALLE INSTITUTE FOR THE CRIMINALLY INSANE - HALLWAY -- DAY] (The SECURITY GUARD escorts SAM to ARTHUR DeRHODES' room. He passes by the people in the hallway to come to a locked door) (Through the window SAM sees ARTHUR DeRHODES sitting at the table in the room.) (Quick black and white flashes of: A man running in the woods. Flashes of a man with tubes attached to him. The man is running in the woods. He is on the ground. It's Arthur DeRhodes. His eyes are wide open. End of flashes. Resume to present.) (The door opens.) [INT. LASALLE INSTITUTE FOR THE CRIMINALLY INSANE - ARTHUR DERHODE'S ROOM -- DAY] (ARTHUR DERHODE looks up as SAM walks into the room.) ARTHUR DERHODES: How nice of you to come on such short notice. Please forgive the accommodations. Sit. Please. It's not my usual suite. I've been relocated. SAM: Routine procedure under the circumstances. ARTHUR DERHODES: Nonetheless, I wish I had more to offer you. SAM: Why did you call me, Arthur? ARTHUR DERHODES: How's your husband? If I remember correctly, the two of you were just about to walk down the aisle. SAM: (ignores the question) Did you kill Dr. Jacob Klein? ARTHUR DERHODES: No, I did not kill Dr. Jacob Klein, although Dr. Jacob Klein will not be missed. SAM: Why should I believe you, Arthur? ARTHUR DERHODES: Review the facts. I brutally murdered seven men. The first time we met -- actually, the first time we met, you shot me, so I must be referring to the second time, and in that conversation, which I enjoyed immensely, by the way, you asked me the very same question ... did I brutally murder seven men -- well, actually, you probably didn't use the word "brutally." That's a value judgment, and you are, after all, a scientist, aren't you? SAM: It's true. You readily admitted to killing those seven men. ARTHUR DERHODES: That's right. Daddy brought me up right. I'm an honorable man. I have always told you the truth. I might add, that was before I checked into this five-star establishment when a good lie might've kept me from being a permanent resident, but a lie now would accomplish nothing for me. (He stands up.) So ... I did not kill Dr. Klein. SAM: Well, if that's the case, then whoever did kill Dr. Klein is copying you, which means that you could ultimately be the object of his obsession. ARTHUR DERHODES: Which means I am. He's working his way to me. That's why I called you. (SAM picks up her purse and stands up.) SAM: I'll give our conversation serious thought. ARTHUR DERHODES: Thank you. SAM: Good-bye, Arthur. (SAM leaves the room.) CUT TO: [INT. VCTF - HALLWAY / BAILEY'S OFFICE] (BAILEY walks SAM into his office.) SAM: What did you want to talk to me about? BAILEY: Lasalle. You already had it in your mind you were going to go see him. You should've told me. (SAM sits down.) SAM: I did tell you. (BAILEY stands behind his desk.) BAILEY: No, you didn't. You said his call intrigued you. There's a big difference. SAM: Well, I'm sorry, Bailey, but I can't help it. He fascinates me. BAILEY: Maybe he fascinates you a little too much, Sam. It can cloud your judgment. It's one of the things I'd hope you'd depend on me for -- perspective. In the future, if we disagree, and I'm sure we will, don't be afraid to come to me with it. Talk to me about it. I'll always listen. (BAILEY sits down.) SAM: Ok, well, how about now? I don't think that he killed Klein. BAILEY: Sheriff Wexler called this afternoon. They found a missing keycard in DeRhodes' cell. Just before Klein was murdered, DeRhodes was granted a prisoner trusteeship for good behavior. He had access. He did it. SAM: Well, I disagree, and I really think that I need to follow this one, Bailey. (SAM stands up and walks over to BAILEY'S desk.) BAILEY: So give me a good reason. SAM: It's not in his makeup to lie. He never denied one of his original murders. Why would he start now? CUT TO: [INT. VCTF - SAM'S OFFICE] (JOHN walks into SAM'S office and lightly knocks on the wall to get her attention. SAM looks up from her desk.) JOHN: How you doing? (She motions him inside.) SAM: Oh, ok. Bailey's giving me some heat, but I guess that's why we love him, right? (JOHN sits down.) JOHN: He's worried. This case is loaded for you. SAM: If you're referring to my shooting DeRhodes, you're mistaken. JOHN: First guy I ever shot was an 18-year-old kid still in high school ... star drug addict named Marco. He had stolen fourteen bucks and killed an 80- year-old pop in a neighborhood grocery store. SAM: Eighteen? That's hard. JOHN: I'd been trained and all. Difference was ... cardboard body targets don't bleed, do they? They don't have little brothers and sisters. SAM: I know. JOHN: I didn't get to that right away. First I thought, hell, I was just doing my job. A few days later, I was buying a hockey stick, I looked up at the kid behind the cash register, and I just hit the wall ... fell apart. Like the bullet I fired a week ago, it just found its mark that very second. I think of Marco every time I strap on my pistol, and I think that's a good thing. (SAM nods and they're both silent for a moment.) (BAILEY walks into the office.) BAILEY: There's been another murder. Toxic gas. SAM: Lasalle? BAILEY: 43 miles away, downtown Hartford. DeRhodes was in lockdown at the time ... under observation. SAM: Then he couldn't have done it. There's no way. CUT TO: [INT. JACK'S PLACE] A RED ROSE is on the table next to a used ash tray filled with cigarette butts. JACK flips through an album binder. He takes out a vinyl record. He puts it on the turntable and places the needle in the groove. (The classical piece, "Jalousie" by Jacob Gade, plays.) (A map is opened flat on the table. JACK uses a magnifying glass as he marks the map. He circles a location. He unrolls paper and marks up the circle he's drawn till he crumples the paper into a ball and tears it into pieces.) (The turntable speeds up. JACK inhales from his cigarette. The needle slides off the turntable.) CUT TO: [INT. HOUSE -- DAY] (BAILEY and SAM walk into the latest crime scene where they meet up with SHERIFF MARION WEXLER.) MARION WEXLER: So we meet again. SAM: Sheriff Marion Wexler, this is Bailey Malone. MARION WEXLER: We spoke. Nice to put a face to the name. BAILEY: Your case? MARION WEXLER: No. I'm county sheriff looking over the shoulder of the Hartford P.D. BAILEY: What have you got? (SAM steps forward and looks at the body on the floor.) MARION WEXLER: Victim is Tony Kagen, 67-year-old male. Cause of death appears to be toxic gas. BAILEY: (o.s.) Organic phosphate. (Quick black and white flash of: The victim is in bed with the tubing in his mouth. An alarm rings. He wakes up and staggers out of bed choking. The alarm continues to ring. The victim falls on the floor. End of flashback. Resume to present.) MARION WEXLER: Looks like the charge against your buddy at the nuthouse for murdering Dr. Klein has been dropped. DeRhodes was in lockup when this went down, so they figure he didn't do either one. (BAILEY kneels in front of the heater.) BAILEY: Bolts are loose. Poor guy gave it a run. (SAM stares at the body.) SAM: Wouldn't matter. Within thirty seconds of inhaling an organic phosphate, it's pretty much over. BAILEY: What's that smell? MARION WEXLER: Oh. Ancient spaghetti sauce. The guy wasn't exactly into doing dishes, you know? (Quick flash of: The chains on the floor; and the chains around the heater. Close up of the chains around the victim's wrists. End of flashback. Resume to present.) (BAILEY looks at SAM.) BAILEY: What do you think? SAM: I don't know. I don't. There's nothing new here, Bailey. If I didn't know better, I'd say it was DeRhodes. BAILEY: I'm telling Wexler and the Hartford P.D. We're taking over. FADE OUT. FADE IN. [INT. VCTF - BULLPEN / COMMAND CENTER - DAY] (SAM rushes into the bullpen and shouts to the team members.) SAM: All right. I don't have a lot of time. I want to get over to Lasalle. (She enters the Command Center followed by JOHN, GEORGE and BAILEY. They all take their seats.) JOHN: And a good morning to you, too. SAM: Sorry, I didn't get much sleep. I was here all night. GEORGE: Don't you just feel sorry for her. I kept her company. Feel sorry for me, too. SAM: I learned a couple of things. Now, at first glance, one would assume that the killer has recreated a picture-perfect M.O. of DeRhodes' past murders. And second, he's spoken with DeRhodes. JOHN: How do we know that? GEORGE: 'Cause of the cotton he used in the murders. JOHN: What cotton? SAM: Last night grace found epoxy on the cotton used in the Klein murder. DeRhodes used to use an epoxy compound to glue cotton into the noses of his victims so they couldn't breathe. GEORGE: We had a fun night, believe me. (BAILEY smiles.) SAM: This evidence was never admitted into the court record, so the only way he could've known about that is through DeRhodes himself. BAILEY: DeRhodes must've told someone about it, maybe a therapist, someone who had access to Lasalle. SAM: I think we need to focus on DeRhodes as the criminal. We need to profile him. If he's being copycatted, this should lead us to the killer. Uh, George? (GEORGE clears his throat and punches up the pictures of the two crime scenes side-by-side on the wall monitor.) SAM: All right. On the left is Richard Fiala. He was killed by DeRhodes in 1987 in Trumbull, Connecticut, and on the right is Dr. Jacob klein. Now, it's a little difficult to tell from these two photos, but the tape over Fiala's mouth is smooth and very precise. That over Klein's mouth is normal. It's wrinkled. There are kinks. So the difference between DeRhodes and the copycat is precision. Now, Beethoven's ninth looks the same on the page. It's the conductor that makes the difference. DeRhodes hits every note in perfect pitch. JOHN: Ok, so what do we know about DeRhodes? BAILEY: Well, his father is Winston DeRhodes. He's a billionaire philanthropist. SAM: All of DeRhodes' victims were the same body type. They resembled his father. They were all about six feet tall, gray, mid to late 60s. He was killing surrogates of his father because he didn't have the courage to do the real thing. BAILEY: He always prepared for the kill at a cabin in the country with a lake nearby. JOHN: A lake? BAILEY: He enjoyed fishing. His father was an outdoorsman. GEORGE: It got him in the mood. SAM: DeRhodes is very meticulous. He pays enormous attention to detail. He's also a loner. He's very confident, arrogant even. BAILEY: Georgie, bring up the picture of the cabin where we apprehended DeRhodes six years ago. If you notice the lawn, it's well-manicured, very precise. There was always a bird-feeder and a no-trespassing sign posted in the front, and he had an ax used for chopping wood that was secured in a stump by the front door. SAM: Also unique was a flag he used to hang in front of the cabin. It was hand-made, and it always had the number of the next victim. JOHN: Number 8, or in the copycat's case, number 3. BAILEY: Right. We captured DeRhodes before he got to the eighth victim. JOHN: So all we really have to do is find someone who has in and out access to Lasalle, who likes to fish in a lake by a cabin with a flag in the front yard that says number 3. (GEORGE smiles.) CUT TO: [EXT. LASALLE INSTITUTION - DAY - ESTABLISH] LEGEND: LASALLE INSTITUTION [INT. ARTHUR DERHODES' CELL - DAY] (ARTHUR DERHODES paces the floor as SAM sits just outside, but inside the room.) ARTHUR DERHODES: I told you I didn't do it, but there's still the issue of me. SAM: Arthur, did you tell anyone about using glue to anchor the cotton plugs in your victims' nasal cavities? ARTHUR DERHODES: No. Possibly someone read of the cotton and glue in one of my manuscripts. SAM: Manuscripts? ARTHUR DERHODES: Yeah, well, to ensure the safety of the world, I'm working on a little memoir -- sort of a gas and tell of epic proportion. (SAM thinks about this.) ARTHUR DERHODES: Without my work ... I will go mad. SAM: I'll see what I can do. ARTHUR DERHODES: Thank you. (He turns away.) ARTHUR DERHODES: Have you met Dr. Kaiser yet? SAM: No. I'm seeing him later this afternoon. ARTHUR DERHODES: What a treat for you. Or he got his psych degree on the back of a matchbook. SAM: I'm sure that he's competent, Arthur, or he wouldn't be here. ARTHUR DERHODES: (laughs) Oh, you will eat your words on that one. He wants to keep me all locked up in isolation here because I have been a, quote, "bad boy," unquote. He will never let me out of this cage. CUT TO: [INT. CORRIDOR -- DAY] (The GUARD opens the gate for SAM and DR. KAISER.) SAM: Who has access to these rooms, Dr. Kaiser? DR. KAISER: Only the residents. (He opens the door.) DR. KAISER: After you. (They enter the room.) [INT. DR. KAISER'S OFFICE - DAY - CONTINUOUS] SAM: How long have you known DeRhodes? DR. KAISER: I was here the day he was admitted. SAM: And you made him a trustee, sir. You must've noticed some rehabilitation. (SAM starts leafing through the journal.) DR. KAISER: The fact that he never acted out and was on good behavior is in itself a sign of rehabilitation. SAM: Some of these appear to have been water-damaged. DR. KAISER: Yes. A burst pipe two months ago. A patient was observed unloading bags of marbles into the toilets. (SAM looks up at the pipes near the ceiling.) (Quick flash of the pipes leaking and the water damaging the journal pages. The words on the pages slowly disappear. End of flash. Resume to present.) DR. KAISER: Yes, the entire wing was flooded. SAM: What did you do with the patients? DR. KAISER: We moved them to an empty block for 2 days. SAM: So anyone could've gotten in here? DR. KAISER: Workers, maybe, yes. SAM: I'm curious. Why haven't you moved DeRhodes back to this room? DR. KAISER: It's under review. SAM: He's no longer a suspect. DR. KAISER: There are our staff to consider. They have their charting to do. And also, his team may wish to consider a different protocol. After all, this has been very traumatic for Mr. DeRhodes. SAM: Are you afraid to move him? DR. KAISER: Certainly not. SAM: Well, I think that at this point, it would be very helpful to observe him in his usual surroundings. DR. KAISER: Yes, well, you are the expert. SAM: Very good. Thank you. CUT TO: [EXT. VCTF BUILDING - NIGHT] [INT. VCTF - COMMAND CENTER - NIGHT] (SAM stands near the wall monitor watching the photos of potential suspects flash on the wall in front of her. As she listens to GEORGE speak, SAM turns around and heads back slowly to the conference table.) GEORGE: Between grocery and pharmaceutical deliveries, office supply, telephone repair, waste management, ground maintenance, they got one hundred seventeen non-staff entries in one month. (Quick black and white flash of: The leaky pipe and the journal pages. End of flash. Resume to present.) SAM: Narrow it down to plumbers -- anyone who could've repaired a sewage system or a burst pipe. GEORGE: Now she tells me. SAM: When do you think you're going to have a lead on the cabin? GEORGE: It's not when, Sam, it's how. So far I have found three hundred forty- seven cabins within a sixty-seven-mile radius localized through seven counties. This is 49.7 properties per county. After I did this, I started work on t o other list of who might've had access to Lasalle. You know, the 117 people I just told you about right before you told me to forget them and just look for plumbers. So I don't know when I'm going to have a lead on the damn cabin. SAM: Remember, it's a visual, George. A red signature with a flag. GEORGE: Ok. I suppose that I could, you know ... hack into an intelligence satellite, but it's curtains for me if I get caught. SAM: Well ... don't get caught. (GEORGE smiles at SAM as she turns and walks out of the conference room. GEORGE gets to work.) CUT TO: [EXT. HOFFMAN HOUSE -- PARKING LOT - NIGHT] (ANGEL walks through the parking lot back to her car. She tries to use the automatic unlock on her key to unlock her car, but it doesn't work. She finds it strange. She reaches the car and unlocks the door. She slips into the car behind the wheel and settles herself in. She starts the car and fastens her seat belt, then pauses a moment. Erring on the side of safety, she reaches over and cautiously locks the doors.) (ANGEL turns the radio on to a classical station and pulls out of the parking stall.) Cut to: [EXT. ROADWAY - NIGHT] (The roads are wet as ANGEL drives home. Classical music continues to play over the radio.) (The radio frequency changes and the music dies down as JACK'S voice is heard over her car speakers. In the background, we hear "Jalousie" by Jacob Gade.) JACK: Turn down the volume, Angel. (ANGEL looks puzzled.) JACK: I said, turn down the volume. I want to talk to you. (She reaches out and turns the radio off.) JACK: You know, I like Mozart, too. He was such a skilled technician, able to take you places you never thought possible. Well, that's where I'm gonna take you. Angel, it's Jack. ANGEL: (gasps) Oh, my god. (She immediately reaches for her phone and starts dialing.) JACK: Poor little angel. I'm not on your fm tonight. I'm coming to you live and in person. (ANGEL tries to hold it together as she listens to the phone ring.) SAM: (answering machine) Hi, this is us. Nobody's home right now ... leave a message and we'll call you back. JACK: Oh, nobody home? Don't worry. (ANGEL hangs up and dials again.) ANGEL: (whispers) Please ... JACK: I'll come and keep you company. INTERCUT WITH: [INT. VCTF - SAM'S OFFICE - NIGHT] (SAM is at her desk when the phone rings. She answers it.) SAM: Sam Waters. ANGEL: (panicked) He's here! It's Jack! Please come and get me! SAM: Where are you? ANGEL: I'm in the car! JACK: Ooh, a conference call. (JACK'S voice interrupts the conversation.) Hello, Samantha. SAM: Angel, is he in the car with you? ANGEL: No, but he's talking, and I can't see on this road! I can't see on this road! There's no traffic, and there's nobody here! (Something blows. The car jerks.) ANGEL: (cries out) Aah! JACK: (taunting) What was that? SAM: Angel? (ANGEL notices that her gas gage starts to fall.) ANGEL: I'm ok. (ANGEL'S car slows on the road and she comes to a stop.) JACK: Damn, you're running out of gas. ANGEL: Oh, my god. SAM: All right, Angel, listen to me. You have to tell me. (SAM opens her desk drawer to get something to write on.) (ANGEL'S car continues to roll off the road.) JACK: Poor little lamb ... all alone in the dark. But don't worry. I'll be there soon. SAM: Tell me where you are, ok? ANGEL: (scared) I'm a few minutes from the Hoffman house. (Quick flashes of: Someone in the bushes putting a gun or a weapon together. Sounds of a cartridge being loaded and the chamber cocked.) ANGEL: (continue) I turned onto commerce somewhere. I ... I don't know where I am. SAM: Where's the school? ANGEL: It's on Euclid and, uh ... SAM: Euclid and what? ANGEL: It's on Euclid and--and Crown! SAM: Whatever you do, I do not want you to get out of the car. (ANGEL thumps the door and finds that it's locked shut.) ANGEL: I can't get out of the car. (SAM walks over to the office glass near to the bullpen. She starts pounding on it trying to get anyone's attention.) SAM: Hey, somebody help me! Somebody help me! (She continues to pound and shout through the glass.) SAM: (shouts) Somebody help me! (The people in the bullpen finally hear her and rush over to her office.) MAN: What's going on? MAN: Ok, hold on. (Two agents, a man and a woman, stand just inside her office.) SAM: (to the agents) My roommate Angel Brown is in trouble. She's 2 miles east of Euclid and Crown. Please send people over there. Jack has got her. (As she listens to SAM over the phone, ANGEL sees a truck pull up behind her.) (They both turn and rush out of the office.) SAM: (to phone) Angel, it's going to be fine, ok? I'm coming right now. (The truck driver gets out of the car.) ANGEL: It's too late. (The truck door slams shut.) ANGEL: He's already here. SAM: Angel. Angel? (ANGEL pulls the phone down as the truck driver slowly approaches her car.) (A fist knocks on ANGEL'S window. She gasps.) TRUCK DRIVER (WOMAN): You ok in there? Something wrong? ANGEL: (to phone) I'm ok. (SAM hangs up.) CUT TO: [INT. VCTF - HALLWAY OUTSIDE BAILEY'S OFFICE - NIGHT] (BAILEY runs out of his office and finds SAM with her bag over her shoulder rushing out of the office.) BAILEY: Sam! She's covered. Chopper's in the air. Ground support's less than 2 minutes away. She's safe. SAM: Ok, good. I'm gonna go home. (SAM rushes past BAILEY. He stops her.) BAILEY: Sam. (SAM turns around.) SAM: What? BAILEY: DeRhodes escaped. (This news stuns SAM.) FADE OUT. FADE IN. [EXT. FIREHOUSE - NIGHT - ESTABLISH] (SAM comes home and finds ANGEL'S bags on the table. ANGEL walks out of the room with some clothes and things to pack.) SAM: What are you doing? ANGEL: I'm leaving. (ANGEL starts to pack away her things without looking at SAM.) ANGEL: I have to get away from this for a while. I am not angry. I mean, this is not what this is about. It's not your fault that Jack terrorized me on some country road. He did it to get back at you, and if he wanted to kill me, he probably would've, but this has forced me to re-evaluate my life. SAM: Look, I can understand ... ANGEL: I don't know how I feel about him having his hands around my neck, but never squeezing. (She looks at SAM and reaches for her scarf. She puts it on.) ANGEL: Besides, this is not my first near-death experience. He was back at the farmhouse. He was actually here in Atlanta, and they videotaped us in our own home. (ANGEL puts her jacket on and grabs her bag.) ANGEL: I don't like being kept safe day after day after day. (SAM doesn't say anything. She turns around and takes a seat.) ANGEL: I'm living your life, Sam. I've really got to rethink this whole thing. (SAM nods.) SAM: I'll tell Chloe ... ANGEL: Oh, no. I'll call her at her grandmothers. I never leave without saying goodbye. (SAM nods. ANGEL picks up her bag and walks out the door leaving SAM sitting alone in the room.) CUT TO: [INT. VCTF - COMMAND CENTER] (BAILEY hands out assignments to the team.) BAILEY: Novak, get all the airlines a photo of DeRhodes. I also want a breakdown of every male passenger out at the airport last night from 5 P.M. On. John ... JOHN: Yeah. BAILEY: Any luck with these rental cars? JOHN: We'll know in about 15 minutes. BAILEY: We're leaving for Lasalle in a half hour. Be ready. George, I need you for a trace. (Everyone stands up and leaves. JOHN turns and sees that SAM'S lost in her thoughts.) JOHN: What's up? SAM: This is all my doing. JOHN: DeRhodes is the one who killed seven men. Not you. SAM: Yeah, but he never would have been moved to a lock-down if I hadn't suggested it. JOHN: Ease up, Sam. SAM: I can't. It doesn't make sense. Nothing makes sense. (SAM stands up and JOHN watches her leave.) CUT TO: [INT. LASALLE -- DAY] (Through the glass windows, JOHN watches the inmates in the cell. One in particular is cradling a blonde-haired doll in his arms and singing to it.) JOHN: And I thought my apartment sucked. (JOHN sits down, but doesn't take his eyes off the inmate. For some reason, he simply fascinates JOHN. SCOTT CARLS pokes his head into the room.) JOHN: Damn. SCOTT CARLS: That's Wesley. (JOHN and SAM turns and see SCOTT CARLS in the doorway. He walks into the room.) SCOTT CARLS: Hey. Scott Carls -- multifaceted, overqualified nurse, slash guard, slash physical therapist. (They introduce themselves.) SAM: Sam Waters. JOHN: John. SAM: Nice to meet you. SCOTT CARLS: Nice to meet you. JOHN: (looking at the inmate through the window) What happened to him? SCOTT CARLS: When he was six years old, his mother caught him playing with matches, and to make sure it'd never happen again, she held his hands over the flame of a gas range. BAILEY: Kaiser told us DeRhodes knocked you unconscious and took your keys. SCOTT CARLS: Yeah, that's what he told me, too. DeRhodes rigged a window earlier to take out the alarm, so he used the keys to get out the service sub- basement. But, uh, I was unconscious at the time. JOHN: What do you remember? SCOTT CARLS: I put him to bed, locked him in his room, then did the same for a couple more patients up in the hallway there, and then came back around here to the nurses' station. SAM: Then how long were you with the other patients? SCOTT CARLS: Not more than a couple minutes. SAM: And then you came back down this hallway, and DeRhodes' room, it's on the east side? SCOTT CARLS: East. That's correct. That would make it the right side of the hallway if you're coming back to the nurses' station. SAM: But you were hit on the left. SCOTT CARLS: Yeah, the left. (SAM envisions the scenario.) (Quick flash of: SCOTT CARLS walks down the corridor when someone walks up behind him. He partially turns around and is hit on his head. He falls to the floor. End of flash. Resume to present.) (SAM turns to look at BAILEY.) SAM: (shakes her head) It wasn't DeRhodes. BAILEY: He was hit on the wrong side of the head. Cell is on the right. Unless you face the attacker, the only way to get hit there is - SAM: Get hit from the left. BAILEY: Maybe he had an accomplice on the outside. SAM: Or he was kidnapped. If he is the object of the copycatter's obsession. BAILEY: He could be trying to finish what he started six years ago. (BAILEY looks at SCOTT CARLS.) BAILEY: DeRhodes ever mention that he wanted to kill his father? SCOTT CARLS: He used to call him "The Billionaire Bastard". Had a real sense of failure about that. Jokingly said it was probably one more thing his father thought he screwed up. (JOHN turns to look at WESLEY.) SAM: (to CARLS) Thank you very much. SCOTT CARLS: Sure. CUT TO: [EXT. GATE -- DAY] (The SECURITY GUARD walks up to the car. JOHN shows him his ID. BAILEY is in the passenger seat while SAM sits in the back.) JOHN: FBI. We have a possible life-threatening situation concerning Mr. DeRhodes. SECURITY GUARD: Mr. DeRhodes is out of the country. BAILEY: Tell him it's about his son. SECURITY GUARD: Just a minute. (The SECURITY GUARD walks away.) JOHN: Thank you. SECURITY GUARD: (to gate) Yes, the FBI about DeRhodes Jr. (The SECURITY GUARD returns.) SECURITY GUARD: Go ahead. (The iron gates in front of them part.) JOHN: Now I know how Moses felt. (JOHN drives the car through the gates and up the drive to the house.) CUT TO: [INT. DERHODE'S RESIDENCE - MAIN HALL / STUDY -- DAY] (BAILEY, SAM and JOHN walk into the house. There are guards everywhere. They cross the main hall and enter the study. A man behind the desk moves around to meet with them.) BAILEY: Mr. DeRhodes, I'm Bailey Malone. BROOKS WINCHELL: I'm Brooks Winchell, Mr. DeRhodes' private secretary. How may we help you today? BAILEY: We're investigating two murders whose methods are identical to those employed by Mr. DeRhodes' son Arthur. BROOKS WINCHELL: I see. BAILEY: He escaped from Lasalle last night. BROOKS WINCHELL: We're well aware of that, Mr. Bailey. Your system may have failed, but ours did not. We're not usually this -- how shall I say-- heavily populated with artillery. JOHN: Yeah, well, whatever. We're here regardless, and we have reason to believe that Mr. DeRhodes may be his next victim. BROOKS WINCHELL: Well, rest assured, mister ... JOHN: John. My name's John. Just call me John. BROOKS WINCHELL: Rest assured, John, Mr. DeRhodes has never been a victim in his entire life. He's certainly not going to start now. SAM: Would it be possible for us to speak with him? CUT TO: [INT. DeRHODES RESIDENCE - DAY -- CONTINUOUS] (BROOKS WINCHELL leans in close to ARTHUR DeRHODES, SR., and whispers into his ear. ARTHUR DeRHODES is an older man in a wheelchair wearing a nasal canula.) BROOKS WINCHELL: (whispering) There's some people to see you. The FBI. (He steps aside. SAM walks into view.) SAM: Good morning, sir. (She sits down in the chair in front of him.) SAM: My name is Samantha Waters, and I would like to talk to you about your son. MR. DeRHODES: Do you believe in evil, Miss Waters? SAM: Yes, I do. MR. DeRHODES: So do I. But from whence did it come? SAM: I don't know. MR. DeRHODES: Arthur was never blessed with guilt. If I could, I would buy him remorse. SAM: I'm sorry. MR. DeRHODES: Don't be. I'm the one who's sorry. You should've killed him when you had the chance. (MR. DeRHODES starts to get agitated.) MR. DeRHODES: He is not of the heavens, and he never will be. SAM: But he's your son. MR. DeRHODES: He is the devil incarnate. (He coughs.) MR. DeRHODES: I have no son. I have no son. (He gets more upset. The monitor attached to him starts to beep louder. The nurse in the room notices and rushes toward him.) WOMAN: (to nurse) Betty. Betty. MR. DeRHODES: (agitated) I have no son. (He starts wheezing.) NURSE: All right, Mr. DeRhodes. Here you go. (The nurse puts the oxygen mask over MR. DeRHODE'S mouth. BROOKS WINCHELL: You best leave. (SAM watches as the NURSE gives MR. DeRHODES his oxygen.) (Quick flash to: The oxygen gage. The tubing. The victim on the floor with the tubes in his nose and taped to his mouth. Quick flash of Arthur DeRhodes, Jr. End of flashes. Resume to present.) (She stands up.) BROOKS WINCHELL: This way please. (BROOKS WINCHELL leads them out of the room.) BAILEY: We'd like to talk with your security. BROOKS WINCHELL: About what? BAILEY: His protection. BROOKS WINCHELL: I think not. JOHN: Remember, we're the FBI. BROOKS WINCHELL: Do you have a warrant? JOHN: Not on us. BROOKS WINCHELL: This is private property and this conversation is over. JOHN: This is unbelievable. Isn't he worried? BROOKS WINCHELL: Of course he's worried. That's why he has us. After all, his son had your protection and if I'm not mistaken, he's now ... free as a bird. Good day, gentlemen. (He turns to look at SAM.) BROOKS WINCHELL: Madam. JOHN: See you. (They all turn and leave.) CUT TO: [INT. VCTF - COMMAND CENTER -- NIGHT] (BAILEY, JOHN and SAM walk through the hallway and into the command center.) JOHN: We got no witnesses. BAILEY: What about the hot line? JOHN: We got about ten billion calls from moderately stocky guys in their late 60s, receding hairline, terrified they're going to get gassed in their sleep, but no witnesses. (GEORGE follows them into the room holding a diskette.) GEORGE: Deep throat here. BAILEY: What's he got? GEORGE: One busted sewer pipe repairman coming right up. BAILEY: You sure it's him? (GEORGE puts the diskette into the drive to access the information.) GEORGE: Yeah, I'm positive. Believe me, I searched everybody who was ever on staff of LaSalle -- outside contractors, new hires, and even family. Now, I narrowed it down to four ... who could've done the work at Lasalle when the marbles busted out the plumbing, and this guy is the only one who was working during that two-day shift. Meet one Bobby Mannetti. SAM: Address? GEORGE: Lives in a post office box. Hospital staff. Spends his 3-days-in-3- day-out shifts on the grounds. BAILEY: Does he have a cabin by the lake? GEORGE: It's never enough, is it? After I find it, you're gonna want me to mow your lawn, paint your garage, huh? BAILEY: Just find it. Let's go meet Bobby Mannetti. Got a strong feeling he helped Arthur DeRhodes escape. (They all head out the door leaving GEORGE at the computer to get to work.) CUT TO: [INT. LASALLE -- DAY] (The GUARD opens the door and lets BAILEY and SAM into the room. SAM notices the made-up bed.) SAM: Look at the way he makes his bed. DeRhodes makes his with military corners. It's flawless. (Quick flashes of: MANETTI making his bed. End of flashes. Resume to present.) SAM: This is normal. BAILEY: Unless he hadn't finished. Like the tape on the new murders. (DR. KAISER bursts into the room.) DR. KAISER: Excuse me, this is against the law. You must have a warrant. BAILEY: It's on its way. SAM: Dr. Kaiser, do you have a key to this locker? BAILEY: Open it. DR. KAISER: Very well. (DR. KAISER unlocks the locker. BAILEY and SAM immediately go through the locker. BAILEY leafs through a magazine while SAM finds a couple of marbles.) SAM: Bailey. (She shows them to BAILEY.) (The phone rings. BAILEY answers it.) BAILEY: (to phone) Malone. JOHN: (from phone) Bailey, it's John. We got a problem with the billionaire. CUT TO: [INT. DeRHODES' RESIDENCE - SITTING ROOM -- DAY] (SAM walks into the room to look at the crime scene. She kneels down in front of the body.) BAILEY: They dust for prints? JOHN: No. We left it exactly the way we found it, waited for you guys to get here. There's no chains, no tape. BAILEY: Who was on the premises at the time? BROOKS WINCHELL: Just the regular staff. (Quick flashback to: Two flashes: One of Mr. DeRhodes in his chair clutching his heart and the other of the victim with the tubes taped to his mouth. Mr. DeRhodes stands up from his wheelchair as the victim also stands up. End of flashes. Resume to present.) (As the men talk in the room, SAM reaches out and picks up the oxygen mask. She puts it on. She reaches out to the tank and opens it.) (JOHN turns and notices her.) JOHN: Sam! (She shuts it off.) SAM: It's oxygen. He just died. (BAILEY steps forward.) (From a top view of the room, the camera pulls away slowly.) FADE OUT. FADE IN. [INT. VCTF - COMMAND CENTER] (BAILEY stands in front of the wall monitor watching as the different cabins scroll on the screen.) BAILEY: Where'd you get this? GEORGE: (hedges) I really can't say. BAILEY: George. (JOHN stands next to GEORGE waiting for his answer.) GEORGE: Oh, the ... white house. (JOHN laughs with appreciation.) GEORGE: Cool, huh? JOHN: It's beautiful, man. (BAILEY turns around. He's not smiling.) GEORGE: (explains) It's their object-recognition software that really does it. It sorts through billions of bits of data. Bingo! One made to order. Wood pile, lake, flagpole. It's precisely the way DeRhodes used to have it. JOHN: Do we know if it's bobby mannetti's cabin? BAILEY: Let's find out. GEORGE: This is as far as I can take it. BAILEY: I want the exact coordinates of that cabin within 500 feet. GEORGE: Ok. How do you want me to do that? (beat) BAILEY: Call the president. (GEORGE gets it. He smiles. JOHN laughs. BAILEY cracks a smile as he and JOHN head out the door leaving GEORGE to get to work.) CUT TO: [EXT. CABIN -- DAY] (In the distance, there's a cabin with a black flag up on the flag pole. BAILEY pulls up the car and parks a respectable distance away.) (He checks his gun.) BAILEY: You have your weapon? SAM: Yep. (BAILEY snaps the cartridge back into the gun and cocks it.) BAILEY: Stay with me. SAM: Ok. (They exit the vehicle.) CUT TO: [INT. CABIN - DAY - CONTINUOUS] (The door bursts open. BAILEY and SAM enter the cabin, their weapons drawn. They quickly check out the small cabin.) BAILEY: It's clear. (SAM looks around.) SAM: He set up this cabin the same way DeRhodes did. Everything's here, every little detail. (Quick flashback to: ARTHUR DeRHODES opens the cabin door and steps inside. He places the fishing pole behind the door. End of flashback. Resume to present.) (SAM steps to the front door.) SAM: DeRhodes used to keep his fishing poles ... (She pushes the door closed to check behind it. Sure enough, the fishing poles are there.) SAM: ... right there. (BAILEY looks a the things on the coffee table.) BAILEY: "St. Jude's retirement home." Does Mannetti have an elderly father? SAM: Maybe. (SAM sees the teddy bears in the cabin.) SAM: The teddy bears and toys ... it's as if he's trying to create a childhood for himself, just like DeRhodes. (BAILEY stands up. SAM looks around and notices the magazines on the table.) SAM: Bailey. (The Financial Magazines have ARTHUR DeRHODES SR on the cover.) BAILEY: Winston DeRhodes. SAM: This must be Mannetti's father. (SAM picks up the photo of a gray-haired man.) BAILEY: He's trying to copy DeRhodes right down to his bad family life. (Quick flashes of: DeRHODES and MANNETTI'S fathers. End of flashes. Resume to present.) SAM: I think that Mannetti feels that he and DeRhodes are the same person, the way they were both robbed of their childhoods, both hated their fathers. They want the same thing. BAILEY: There's been a struggle. (BAILEY walks over to the overturned lamp on the floor and kneels down next to it.) SAM: He was here. Mannetti did kidnap him. (BAILEY turns to look at SAM and stands up.) SAM: I mean, if they are of the same mind, then maybe he wants DeRhodes to do his killing for him. BAILEY: St. Jude's Retirement Home. CUT TO: [EXT. ROAD TO ST. JUDE'S RETIREMENT HOME - DAY] (Sirens blare as the officer cars turn the corner and pull up in front of the retirement home.) (SAM and BAILEY exit the car as the other officer cars pull up behind them.) (JOHN rushes out of the car to join them.) JOHN: What are we dealing with here? BAILEY: Not sure. (They head up the front stairs to the building. JOHN runs ahead of them.) CUT TO: [INT. ST. JUDE'S RETIREMENT HOME - MAIN LOBBY - DAY -- CONTINUOUS] (BAILEY instructs JOHN.) BAILEY: (to JOHN) Gather the staff. We're going to move all the patients outside. (BAILEY takes off his hat as he walks into the building.) NURSE: Welcome to St. Jude. (BAILEY shows the nurse his I.D.) BAILEY: We're looking for a Mr. Mannetti. NURSE: That would be Francesco. Is there some problem? BAILEY: We believe so. Where can we find him? NURSE: His son Bobby and a friend are visiting with him in his room. JOHN: Where's that? NURSE: I have a map here. (She picks up the map and shows them where they are.) NURSE: Ok. (She points to the map.) You're here, and you want to be there. (She points to another location on the map.) You just go down this hallway and turn left at the blessed mother. BAILEY: John, I want you to go outside and cover us from here. Stay wired at all times. JOHN: You got it. (JOHN rushes out of the building.) BAILEY: (to the nurse) Thank you. (He and SAM head for the room.) [EXT. ST. JUDE'S RETIREMENT HOME -- DRIVEWAY - DAY -- CONTINUOUS] (JOHN runs out of the building to the car where he opens the trunk.) [HALLWAY] (BAILEY and SAM continue through the hallway where they see the BLESSED MOTHER, a statue of Mary. They continue toward MANNETTI'S room.) [OUTSIDE] (JOHN gets the rifle out of the trunk and checks it. Satisfied, he heads back to the building.) [HALLWAY] (BAILEY and SAM reach the closed door.) BAILEY: Mannetti! DERHODES: (through door) He wants you to negotiate with me and only me, or he'll kill us all. (Quick flashes of: DERHODES runs through the woods. He runs and runs. Finally he falls and stops. On the ground, he looks up at the camera in fear. End of flash. Resume to present.) SAM: Bailey, let me. BAILEY: John, Sam's going in alone. You in position? (Outside, JOHN is in position in the bushes outside the windows.) (Inside, SAM opens the door and finds the entire scene set up. MR. MANNETTI is bound with his mouth taped on the bed. BOBBY MANNETTI is chained to the chair, his mouth also taped. Standing in front of the tank is ARTHUR DeRHODES with a smirk on his face.) ARTHUR DeRHODES: I have killed for this moment. (SAM sees that ARTHUR DeRHODES' hand is on the switch of the tank.) ARTHUR DeRHODES: Would you be so kind as to shut the door now? (SAM closes the door behind her.) BAILEY: (to comm.) John, she's in there alone. (Outside, JOHN looks through the scope.) [SCOPE VIEW] of ARTHUR DeRHODES (Inside, SAM remains still.) SAM: What are you doing, Arthur? ARTHUR DeRHODES: If my pulse so much as quivers from this valve, a thousand pounds of nerve gas sprays through the air. BAILEY: All units alert. SAM: You planned all this? ARTHUR DeRHODES: Not all, no. I wasn't there when the sperm hit the egg, but I'd venture to say that from that point on, I've been pretty much in control. I even control your sniper out there. (He turns and looks out the window at JOHN. He smiles.) [SCOPE VIEW] of ARTHUR DeRHODES (JOHN adjusts the rifle on his shoulder, never taking his eyes off of the target inside. ARTHUR DeRHODES turns back to look at SAM.) ARTHUR DeRHODES: Shoot me, the gas goes free. (Inside the room, he looks at SAM.) ARTHUR DeRHODES: They might as well shoot you. (Quick flashback to: ARTHUR DeRHODES is in back of his open van doors getting something out. A YOUNG SAM has her gun out and trained on him. He looks up and sees her. She fires. He falls back and hits the ground. End of flashback. Resume to present.) SAM: That's what this is all about, isn't it? (She takes a step forward.) SAM: Revenge. You had to get out to get to me. ARTHUR DERHODES: Getting out of Lasalle was easy. The fun was making you come to me. SAM: You profiled Mannetti. ARTHUR DERHODES: Profiling Mannetti was too easy. I told him how to get rid of his old man, his face lit up like a kid's on Christmas morning. Actually, you - - guiding you to get Kaiser to let me out of isolation -- that was the yummy one. I almost broke a sweat. SAM: You had Mannetti ruin the plumbing. That way, I would know that someone had access to your room, to your manuscript. You damaged your manuscript with water, then you led us to believe that you had been kidnapped. Good job, Arthur. Very good job. ARTHUR DERHODES: Why, thank you. Coming from you, that means the world to me. As a matter of fact, in my own rather odd way ... (Outside, BAILEY listens.) BAILEY: Stay with her, John. ARTHUR DERHODES: (smiles) ... I've always been sort of proud that I was the first man that you ever shot. (SAM thinks about this.) (Quick flash of ARTHUR DeRHODES in JOHN'S scope. Return to SAM.) SAM: Oh, but you weren't, Arthur. You weren't the first man I ever shot. (SAM slowly makes her way toward ARTHUR DeRHODES.) SAM: No, no. The first man that I ever shot was ... an 18-year-old kid who was still in high school. (JOHN looks up from the scope as he realizes what SAM'S saying.) SAM: (over radio) Star drug addict named Marco. Yeah. That was his name-- Marco. (She continues to slowly make her way toward ARTHUR DeRHODES.) SAM: It was, uh, very bad timing. I mean, I had been trained and everything, (JOHN fixes the comm. in his ear and puts the scope back up to his eye.) SAM: ... but cardboard targets don't bleed, do they? I was at a store a few days later, and I looked up at the kid at the cash register and I just hit a wall. It was as if the bullet I'd fired the week before it was as if that bullet had just found its mark ... this ... very ... (JOHN fires.) SAM: ... second. (The bullet hits its mark and ARTHUR DeRHODES lets go of the tank handle. The gas begins to leak out just as SAM surges forward and grabs the handle to stop the leak.) (ARTHUR DeRHODES falls on top of MANNETTI.) (BAILEY kicks the door in and enters the room, his gun out. He quickly assesses the situation.) BAILEY: One suspect is down. The other is secure. (BAILEY walks over to SAM.) BAILEY: You ok? SAM: Yeah. BAILEY: Who the hell is Marco? SAM: John'll tell you someday. (JOHN rushes into the room through the door. SAM looks down at ARTHUR on the floor.) SAM: He profiled me, Bailey. He had me beat from the start. JOHN: How come you're the only one left standing? SAM: 'Cause I wasn't standing alone. CUT TO: [INT. SAM'S PLACE -- NIGHT] (The door opens and SAM walks into the room. She shuts the door behind her. She sees the cameras on the kitchen table. She puts her bag down on the chair, her keys down on the table and turns on the lamp.) (She sits down on the sofa.) ANGEL: I rented a movie. (SAM turns around to find ANGEL walking into the room.) ANGEL: You want some popcorn? SAM: What are you doing here? ANGEL: I live here, don't I? SAM: Yeah, you do. (SAM stands up and gives ANGEL a hug.) SAM: I really missed you. ANGEL: I missed you, too. (ANGEL pulls away and looks at SAM.) ANGEL: You know, it doesn't really matter what happens to us in life. All that matters is how we respond to it, and the problem was not that I was living your life. The problem was that I wasn't living mine, and that is my job. No matter where I am, no matter what's put in front of me, life ... is hard. (They both laugh at that bit of wisdom.) SAM: So what, uh ... what movie did you get? ANGEL: I got the odd couple. (SAM smacks ANGEL'S forehead with the flat of her palm. ANGEL returns the gesture. They both laugh.) CUT TO: [EXT. ROADWAY -- NIGHT] (A truck drives down the dark roadway. Standing on the curbside is a hitchhiker.) (Dissolve to: The hitchhiker walks up to the stopped truck. He opens the door and climbs inside.) (The truck driver is a woman - the same woman who helped ANGEL.) TRUCK DRIVER: I'm almost home, but I'm happy to take you as far as I can. JACK: Oh, I don't need to go that far. I'm just headed down to my friend Angel's house. TRUCK DRIVER: That's funny. I just picked up a girl named Angel the other day. JACK: No kidding? TRUCK DRIVER: Come on in. (JACK climbs into the truck. He settles himself into the passenger seat.) (The truck pulls back onto the road.) JACK: (v.o.) Didn't your mom ever tell you not to pick up hitchhikers? 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 1X11: DOPPELGANGER ORIGINAL AIR DATE ON NBC: 01/18/1997 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 Stars EDWARD ALBERT as Arthur DeRhodes BARRY CULLISON PETER DENNIS STEVE LARSON MICHAEL ENSIGN MIKE KENNEDY Co-Producer: JOHN FORREST NISS Produced by: ANTHONY SANTA CROCE Supervising Producer: GEORGE GEIGER Supervising Producer: CYNTHIA SAUNDERS Creative Consultant: KEN SOLARZ Executive Producer: LARRY HERTZOG Written by: BOB LOWRY Directed by: JOHN PATTERSON ========================== END CREDITS ========================== Sanders/Moses Productions NBC Studios NBC Enterprises Also Starring: MARJORY GRAUE as Female Trucker CATHERINE GRACE as Nurse Fracliolla CHRISTOPHER JUDD as Gate Guard ART FRANKEL as Francesco Mannetti Story Editor: JEAN GENNIS Story Editor: PHYLLIS MURPHY Casting: ANTHONY BARNAO Director of Photography: MICHAEL BONVILLAIN Production Designer: JONATHAN CARLSON Edited by: JON KOSLOWSKY, A.C.E. Main Title Theme: ANGELO BADALAMENTI Music by: JEFF RONA Unit Production Manager: ANTHONY SANTA CROCE First Assistant Director: BRUCE CATER Second Assistant Director: JEFF KAY Costume Designer: TOM McKINLEY Production Supervisor: LORIE ZERWECK Camera Operator: JAMIE MAXTONE-GRAHAM First Asst. Cameraman: BUTCH PIERSON Dolly Grip: RICK MAXEY Production Sound Mixer: KEN SEGAL Second Second Assistant Director: LAURA SYLVESTER Location Manager: ILT JONES Gaffer: VANCE TRUSSELL Key Grip: RONN COONEY Construction Coordinator: ANDREW MOORE Transportation Coordinator: STEVE ZERWECK Stunt Coordinator: BUCK McDANGER 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: LAURA DELUISA Production Auditor: BETHANY BROWN Script Supervisor: JANEL F. REEVES Production Coordinator: JANE EVERETT Assistant to Executive Producer: NICHELLE M. PROTHO Assistant to Supervising Producer: MADELINE BELL Assistant to Producer: KIMBERLY DICKENS Computer Graphics: PAUL LeBLANC Video Playback: BOB MORGENROTH Insert Coordinator: CRAIG FELLER Assistant Editor: J.J. ROGERS Post Supervisor: LYNN STEVENSON Post Coordinator: GINA LAMAR Supervising Sound Editor: PETER AUSTIN Sound Effects Editor: LINDA KEIM Music Editor: BRIAN RICHARDS Re-Recording Mixers: MIKE GETLIN / DEAN OKRAND / BILL THIEDERMAN Main Title: SUZANNE KILEY Telecine: MACE JOHNSON Da Vinci: RICK DALBY Optical Online: ROGER AMES BERGER 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) 1997 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:03/12/2004~lky http://www.webphilia.com/~anthology/wnp.html