PROFILER
1X12: LEARNING FROM THE MASTERS
ORIGINAL AIR DATE ON NBC: 02/01/1997
TRANSCRIBED FROM DVD
Written by: JEAN GENNIS & PHYLLIS MURPHY
Directed by: KEVIN HOOKS
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 intact 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 team is called in to investigate an unusual murder which is soon
discovered to be a part of a series of murders with the same M.O. During the
investigation, a link to a corresponding traveling art expo is discovered.
Meanwhile, Jack has infiltrated the VCTF computer system.
==========================
PROFILER
1X12: LEARNING FROM THE MASTERS
==========================
FADE IN.
[INT. DARK ROOM]
(The overhead red light fixture sways back and forth.)
(Fade into: Someone holds a camera lens.)
(Fade into: Someone handles a piece of photography equipment.)
(Fade into: Someone puts on a set of latex gloves.)
(Fade into: Someone adjusts the developing liquid into the pan.)
(Fade into: The liquid.)
FADE TO:
[EXT. RIVERSIDE - NIGHT]
(A car drives up to the pier.)
(A woman hiding behind some junk raises her binoculars to look at the car.)
[BINOCULARS VIEW]
(The driver opens the door for his passenger. The man exits the car and the
driver closes the door. The driver gets into the car, but the woman watches the
other man as he meets with someone who's already there.)
(They shake hands.)
(She continues to watch them as the two men walk down the pier as they talk.)
(Behind her, someone watches the woman.)
(The woman hears something creak behind her and turns around to look.)
(The person behind the woman moves aside. She looks back and doesn't see
anything.)
(The woman checks it out anyway. With a gun in her hands, she makes her way
through the old crates.)
(She hears something rattle and turns around to look. As she gets closer, she
sees someone down on the ground.)
(Behind her, someone approaches her fast. A bag is put around her neck tied by
a rope. The woman struggles. The person pulls the rope tight. The woman falls
to her knees.)
[INT. DARK ROOM]
(In the darkroom, someone cuts a film negative strip to get a particular
negative. Liquid is poured into a pan. A film negative strip is unrolled.)
[EXT. RIVERSIDE - WAREHOUSE -- NIGHT]
(The dead man and dead woman are placed side-by-side, their bodies positioned,
the bags still around their heads.)
(The person gently touches the woman's head as he withdraws from them.)
(Several quick flashes of the two bodies in pose.)
FADE TO
END OF TEASER
ROLL TITLE CREDITS
FADE IN.
[INT. SAM'S PLACE -- DAY]
(SAM is on the phone talking with BAILEY.)
SAM: (to phone) No, Bailey, don't pick me up. We'll just lose time. I'll
just meet you at the helipad. Mm-hmm. Ok. Yeah. All right. Uh, twenty
minutes. Yep.
(SAM hangs up and puts the phone down. CHLOE looks at her.)
CHLOE: Now?
SAM: Yes, sweetie. Now.
(SAM listens as CHLOE reads her report.)
CHLOE: "I went to visit my grandma. She read me a book about the zoo."
(CHLOE looks up and sees that SAM is putting her things together.)
CHLOE: Mom!
SAM: Oh, I'm sorry, Chloe. Mama's late.
CHLOE: But you promised you'd listen to my story.
SAM: You're right. I did.
(SAM puts her things down and tugs CHLOE toward the chair.
SAM: Here. Come on.
(She sits down and turns her full attention on CHLOE.)
SAM: Ok. Now... start over.
CHLOE: "I went to visit my grandma, and she read me a book about the zoo. It
had lions, monkeys, and birds. My favorite was the panda bear." Well, that's
all I've got so far.
SAM: That's wonderful, Chloe. I'm sorry that I didn't pay attention to you
before. You know what we'll do? One night this week, it'll be just the two of
us, and we can do whatever you want.
CHLOE: Can we play Candyland?
SAM: (whispers) Candyland it is. Ok?
(CHLOE giggles. She gives her mom a hug.)
CHLOE: Mmm.
CUT TO:
[EXT. CITY BUILDING - DAY]
LEGEND:
MILWAUKEE, WISCONSIN
[EXT. DOCKS -- CRIME SCENE -- DAY]
(SAM and BAILEY walk though the area already filled with OFFICERS and other
emergency personnel.)
BAILEY: Bethany Stewart, twenty-eight years old. Six years with the bureau,
two in Milwaukee. Local police froze the scene so we could have a look.
(On the ground is a dead couple, posed.)
SAM: Doesn't look like a sex crime.
BAILEY: What's with the pillowcases?
JOHN: Maybe some kind of execution.
NATHAN: It's not your typical gang hit. Strangled, then stabbed in the heart
both of them.
(SAM has a quick flash of the bodies. End of flash. Resume to present.)
SAM: Look at the positioning of the bodies. It's almost as if the way they've
been placed is as important as the kill itself.
JOHN: The M.E. places T.O.D. about midnight, give or take the usual.
BAILEY: Do we know how they got here?
(SAM kneels down next to the bodies.)
NATHAN: Car found a couple of docks down. She drove. She may have driven, but
she was dragged the last couple of feet.
SAM: Doesn't look like they came together. She's dressed for dinner ... he's
dressed for loading cargo. Did we get an I.D. on him?
JOHN: Yeah. Name on the, uh, wallet I.D. is Mark Hanlon. Madison address, but
nobody's been notified yet.
(In the back, an FBI agent walks up to them.)
ROWAN McGREGOR: Malone!
(BAILEY and everyone turns around to look behind them.)
ROWAN McGREGOR: I'm Rowan McGregor, Milwaukee Field Office. We met at
Quantico.
BAILEY: How are you?
ROWAN McGREGOR: You guys made good time. You task force types are usually
having your first cappuccino about now, aren't you?
(JOHN shakes his coffee cup and leaves to get a refill.)
ROWAN McGREGOR: I wish I'd have known. I could've saved you a trip. Already
got a witness, spotted a limo at the scene. That makes it Steve Kalagian. I'm
having him picked up.
NATHAN: Who's Kalagian?
ROWAN McGREGOR: He fronts as a menswear manufacturer, but he makes his dough as
a mafia pharmacist.
SAM: Well, what's his motive?
ROWAN McGREGOR: I assigned Stewart to watch him.
SAM: Well, that ... doesn't make sense. If what you're saying about Kalagian
is true, then why would he kill her and then leave these bodies out here in the
open? It just doesn't seem probable.
ROWAN McGREGOR: Well, who cares what it seems to you? Bethany was my agent and
my friend, by the way. I'm pulling Kalagian in, and he is going down for it.
BAILEY: Rowan, let's have a talk over here.
(BAILEY pulls ROWAN McGREGOR off to the side for a talk.)
BAILEY: I'm not trying to step on your toes. You know as well as I that when
someone takes out one of our own, the task force is automatically assigned ...
till it clearly becomes a local matter.
ROWAN McGREGOR: Ok. Fine, Malone, but what about her? Why does she gotta come
on so strong?
BAILEY: It's what I pay her to do. That's my star pitcher.
(SAM listens to their conversation. JOHN walks back up to NATHAN.)
JOHN: You got a problem.
BAILEY: Look, reel Kalagian in ... but I want her to talk with him before you
file charges.
(BAILEY heads back to the group.)
CUT TO:
[INT. POLICE DEPARTMENT - INTERVIEW ROOM -- DAY]
(STEVE KALAGIAN waits in the interview room. He lights his cigar as SAM enters
the room.)
SAM: Mr. Kalagian. Samantha Waters. Thank you for coming in.
(He stands and they shake hands.)
STEVE KALAGIAN: It's a pleasure.
SAM: Please.
(They both sit down.)
STEVE KALAGIAN: They've done some remodeling around here.
SAM: I'm sorry?
STEVE KALAGIAN: The walls used to be ecru.
(SAM smiles at the reference.)
SAM: I take it you've been here before.
STEVE KALAGIAN: Agent McGregor has been known to ... ask me down upon occasion.
Acoustical tile's a little cold, though, don't you think?
SAM: Well, people have been known to shout during these procedures.
STEVE KALAGIAN: I never shout. How may I help you today, Ms. Waters?
SAM: You knew agent Stewart, didn't you? Agent Bethany Stewart?
STEVE KALAGIAN: I did. It was her job to look over my shoulder. I understood
that. What happened to her was a real tragedy.
SAM: We have a witness who placed you near the scene of the murder.
STEVE KALAGIAN: If you have a witness who placed me anywhere, it was not near a
crime scene. It was near the scene of my doing some business.
SAM: On the docks at midnight.
STEVE KALAGIAN: I'm a clothing manufacturer. Clothing's made of fabric. I buy
bulk. Bulk is shipped.
SAM: I see here that your father was incarcerated in '57 for racketeering.
STEVE KALAGIAN: Yes. And he was cleared of those charges.
SAM: Yes, after a witness disappeared.
(SAM takes the file and stands up.)
SAM: Tell me. What was your relationship to Bethany?
(He chortles.)
STEVE KALAGIAN: Relationship. I hate the nineties. If you consider being
tailed by a short-fused F.B.I. Investigator a relationship, you are a very
lonely woman, Ms. Waters.
SAM: You're the eldest, aren't you, Mr. Kalagian? Did you know that the eldest
child often marries its complement? I bet your wife is the youngest in her
family, isn't she? She's probably the baby girl. Yes. It says here that your
wife is fifteen years younger than you.
STEVE KALAGIAN: Is there a law against that?
SAM: She's probably very sweet ... very passive ... easy prey for an insecure
man. Do you hit your wife, Mr. Kalagian?
STEVE KALAGIAN: I do not hit women, and I especially do not hit my wife.
SAM: Ah. Did you know that Agent McGregor wants to charge you with Bethany's
murder?
STEVE KALAGIAN: McGregor wants a collar, period. It doesn't matter to him
whether it's me or little Mary Sunshine.
SAM: Little Mary Sunshine wasn't down on the docks last night at midnight, was
she? At least not on the same dock that Bethany Stewart's body was found on.
(SAM sits down.)
STEVE KALAGIAN: Look, Waters ... if I had wanted it done, I would've done it
myself three years ago, and I would've done it right. You would have never
found that body because she would've been face down in a bucket of cement at the
bottom of Lake Michigan. Now, are we clear?
SAM: Thank you.
(SAM stands up and leaves the room. STEVE KALAGIAN re-lights his cigar.)
[OBSERVATION ROOM]
(The door to the observation room opens and SAM walks in. She joins BAILEY and
ROWAN McGREGOR who watched the interview.)
SAM: He didn't do it.
ROWAN McGREGOR: Then he ordered it done.
SAM: He had nothing to do with these murders, Rowan.
ROWAN McGREGOR: (turns to BAILEY) Why? Because your 'star pitcher' got her
best stuff blown back at her?
BAILEY: No. Because I think he was telling the truth.
SAM: If he'd killed Bethany Stewart, he would've done it exactly the way he
described it, and we never would've been able to link him to it.
BAILEY: We've got to take the case. Just keep Kalagian on a short leash in
case we come up dry.
(SAM and BAILEY head for the door. BAILEY turns around.)
BAILEY: By the way, no matter how this turns out, we'll come back and help you
reel this bastard in.
(They both leave. ROWAN McGREGOR turns to look at STEVE KALAGIAN through the
glass.)
CUT TO:
[INT. VCTF - COMMAND CENTER]
(The Task Force sits at the conference table.)
GEORGE: Ordinary pillowcases, 100-thread count, not expensive. Rope--soft
cotton, commonly available. No footprints.
(They look at the posed bodies on the monitor.)
(Quick flash of: BETHANY STEWART walking at the docks. End of flash. Resume
to present.)
SAM: Can I see a blowup of the shoe?
GEORGE: Sure.
(GEORGE puts a picture of BETHANY STEWART'S shoe on screen.)
BAILEY: What do we have on the date with Mark Hanlon?
JOHN: Uh, no luck yet. We're still checking next of kin, any of Hanlon's
friends.
SAM: Anyone talked to the girl's parents or friends? Do we know for a fact
that these two were dating?
JOHN: Her friends at work said this was their third date.
SAM: Hanlon? I mean, did they actually name him? I'm telling you, I don't
think these two were on a date.
BAILEY: Maybe not, but if she was working, the assailant took her weapon. It's
still missing.
(NATHAN walks into the room reading a report.)
NATHAN: We just got the preliminary M.E.'S report from the Milwaukee Autopsy.
The blood which settled in Hanlon's extremities suggests he might've died up to
an hour before Bethany Stewart.
(SAM looks at the photos and has a quick flash.)
SAM: Killer's left-handed. The knot in the garrote is twisted on the left
side.
BAILEY: Ok. Two murders, but maybe done separately, then put together. What
the hell is that?
JOHN: Victims with bags over their heads, and it's not a mob execution.
NATHAN: Arranged to look like they knew each other when they didn't.
SAM: Look at the placement of the bags ... creased just so ... and the
positions of the bodies. They weren't thrown down. They were ... posed. He
wasn't hurried. He took his time.
NATHAN: And obviously he didn't find the pillowcases at the scene. He was
prepared.
SAM: Which suggests that it was planned. I mean, there's no wasted moves, no
panic ... so maybe he's had a certain amount of practice.
BAILEY: George, search the national crime database for the same M.O.-- Garrote
and a long, sharp implement through the heart.
SAM: And bodies being posed.
BAILEY: And put the word out on the net we're looking for anything like this
anyplace in the country.
(BAILEY turns to leave the room.)
CUT TO:
[INT. JACK'S PLACE]
(JACK sits in front of his computer monitor. It reads:
L64176C31749S3B
ATTEMPT#2186368
("ACCESS DENIED" flashes on the screen. He hits the keys and tries again.)
E931M1QB4225FYU
ATTEMPT#2186363
("ACCESS DENIED" flashes on the screen. He hits the keys and tries again.)
CUT TO:
[EXT. METROPOLITAN CITY -- DAY]
LEGEND:
MEMPHIS, TENNESSEE
[EXT. PARADOX IRON - DAY]
(POLICE cars surround the old warehouse as other OFFICERS contain the crime
scene.)
OFFICER: Gotta tape it all the way around.
[INT. PARADOX IRON - WAREHOUSE - DAY]
(The door opens. SAM, BAILEY, JOHN and NATHAN walk into the warehouse. They
walk to the center of the warehouse where the dead body is positioned.)
JOHN: Strangulation. Ligature around the neck.
NATHAN: Perforated heart.
BAILEY: Last murder was less than twenty-four hours ago, almost a thousand
miles from here.
SAM: It's the same killer. He's on the move.
(BAILEY takes out his cell phone and dials. Camera pulls back on the scene.)
FADE OUT.
FADE IN.
[INT. JACK'S PLACE]
(JACK continues to work on the computer trying to gain access into something.
He hits the keys when access is denied.)
(Then ...
(On attempt # 2,186,187:
OXUFG5A9AFILEYO
ATTEMPT # 2186389
(He hits pay dirt. The computer beeps:
LOGGING IN ...
ACCESSING VCTF DIR;A...
(The computer monitor clears and the VCTF Database screen appears, the one that
we're so familiar with.)
SYSTEM CHECK OK ...
FADE INTO:
[VCTF MONITOR]
(GEORGE works on the laptop when the monitor bleeps with interference. The
graphic on screen disappears and system code appears. This is not good. GEORGE
reads the code when the monitor bleeps again.)
[INT. VCTF - COMMAND CENTER]
SAM: (o.s.) George.
(He holds up a finger to stall them.)
GEORGE: One second. Something has gotten into the system. Let me try scanning
for viruses.
(The entire team is at the conference table waiting for GEORGE.)
JOHN: You're supposed to be scanning for killers, George, not viruses.
BAILEY: Why don't you give it some cold medicine? Eighteen zillion dollars for
computers, and we're looking at system errors.
(GEORGE nods.)
GEORGE: Have faith. (The monitor clears and the graphic of the crime scene
appears on screen.) We're back on-line.
(There's still some interference, but they continue with the briefing anyway.)
GEORGE: This is the Memphis crime scene.
(A second graphic appears, a close up of the paper clutched in the victim's
hands.)
NATHAN: The paper in the guy's hand, the pen. Did we get a lab report on that?
JOHN: Yeah. The paper is too generic to trace. Basically just a bunch of
gibberish on there. No prints on the pen.
SAM: Why leave a note with no message ... unless the message isn't in the note?
GEORGE: This came in a minute ago from Milwaukee, the Bethany Stewart case.
They interviewed the mother of the guy they found with her, Mark Hanlon? It
turns out he was a pipe fitter who was there on a job, and he only arrived
yesterday.
BAILEY: So Stewart and Hanlon didn't know each other. The bodies were arranged
to make it look like they did.
(Sam's Quick flash of the crime scene: The killer positions Bethany Stewart's
head to face the other. End of flash. Resume to present.)
SAM: More than knew each other, Bailey. They were made to look close --
intimate, like lovers.
GEORGE: You know, this other unsolved homicide popped up when I took the search
back three months and extended the geographical arena. This is Birmingham.
(A different graphic appears on the monitor.)
GEORGE: Exact same M.O.? Bruise marks on the neck due to strangulation with a
ligature by a left-handed killer again.
JOHN: And similar puncture wounds to the chest. The body may have been moved.
SAM: May have been? Look at him. His head is turned to the left, right arm
outstretched, finger pointing. I'd say he'd definitely been moved.
(The monitor fluxes with interference.)
GEORGE: (frustrated) Damn it! Going down again. All right, I'm gonna ...
report this to data security.
(GEORGE gets to work on the computer.)
JOHN: Memphis, Birmingham, Milwaukee. I mean, this guy gets around, huh?
BAILEY: Garroting and stabbing his victims.
GEORGE: We're back on-line.
SAM: Why do both? I mean, these don't look like crimes of rage or passion.
There is a deliberateness here which I haven't figured out yet. Can you enlarge
this slide?
GEORGE: Yeah.
(SAM has another quick flash of the crime scene: The killer positions the hand
of this victim to point in a particular direction. End of flash. Resume to
present.)
SAM: Yeah, he uses a garrote, but I'm not sure he kills them with it. Do we
have an M.E.'S report from each of the victims with the exact cause?
GEORGE: (reading off the monitor) "Cardiac tamponade resulting from a puncture
wound to the right ventricle. Pericardial sac filled with blood ..." ... on
every one of them.
BAILEY: The heart was still beating at the time each victim was stabbed.
JOHN: So they didn't die from asphyxiation, but there's so little blood, you'd
think they were dead before they were stabbed, right?
SAM: They were alive. All the victims were alive when he moved them into
position.
BAILEY: The garroting was just to render them unconscious.
SAM: So they were easier to pose.
BAILEY: Once they were in position, he performed an almost bloodless coup de
grace to their hearts. I've seen it happen like that with a narrow sharp
puncture. The wound closes up.
NATHAN: Like a nail in a tire.
JOHN: Do we have, uh, anything on the murder weapon?
(BAILEY picks up the phone to make a phone call.)
GEORGE: Yep. Uh, lab is still studying the puncture marks. They think it's a
tool of some kind, but so far they have no I.D. They're building a mold.
[INT. VCTF - BAILEY'S OFFICE / HALLWAY - LATER]
(JESSE holds the mold of the murder weapon in his hand.)
JESSE BRESLOW: I can tell you what it's not. It's not a knife, it's not a
screwdriver, and it's not a harpoon.
BAILEY: I don't care what it's not.
JESSE BRESLOW: Well, working with an impression made in flesh isn't, uh, a
plaster mold.
(JESSE hands the mold to BAILEY and they exit BAILEY'S office, walking out into
the hallway.)
JESSE BRESLOW: Flesh subsides. It--it's fluid. Look. I take a photograph of
each puncture wound. I--I blow it up. I study it. I calculate the velocity of
each blow, but that is only a guess.
BAILEY: It's a pretty damn good guess, knowing you, Jesse.
(They turn and head for the lab.)
JESSE BRESLOW: Well, I think the length is about right and the tape are good
to, say, twenty percent.
BAILEY: A tool like this would be used for what? Piercing, cutting?
JESSE BRESLOW: Yes. Prying, sharpening, shaping.
BAILEY: A very specialized blade, edged on both sides.
JESSE BRESLOW: Mm-hmm.
BAILEY: Do we at least have a working name for it?
JESSE BRESLOW: Oh, sure -- "something sharp people can poke a hole in you
with."
(JESSE turns and enters the lab.)
CUT TO:
[INT. JACK'S PLACE]
(JACK studies a map supposedly of the VCTF office. He marks the map with a blue
pencil. On the computer next to him, the VCTF database is still on screen.)
(JACK works as he marks the layout of the office, identifying everyone's
offices.)
FADE TO:
[INT. VCTF - COMMAND CENTER]
(We open on the SECURITY MONITOR on screen. BAILEY walks around the office.)
BAILEY: Look. We found two more victims. Can't you get a printout or anything
that we could look at while you get that damn thing rolling?
(GEORGE walks into the room and takes his place at the table.)
GEORGE: No. I'm sorry. This whole system has been zapped by some bug. E-mail
for the whole V.C.T.F. Got spammed yesterday.
JOHN: Spammed?
GEORGE: Did you notice our mailboxes are filled with garbage? We got spammed.
So I reported it, and for a couple minutes, we got a rapid response team just
crawling all over the mainframe.
(BAILEY takes his seat next to SAM.)
BAILEY: Well, they can crawl anywhere they want. We'll do it the old-fashioned
way -- paperwork.
SAM: All right, so we have two more victims just by going back another month.
GEORGE: Hematoma on the left side of the neck, lethal puncture to the chest.
JOHN: So ... what does that bring us up to?
GEORGE: Six bodies, five murder scenes. I'm still looking.
(Everyone takes a moment and looks at the hardcopy files.)
SAM: Look at the dog ... paws crossed over its master's chest.
BAILEY: Man in a suit lying by the water like he's napping at a picnic.
SAM: Is there anything consistent here?
BAILEY: I don't see any one message, even if we think symbolically.
SAM: Neither do I. I mean, every other case I've worked on where the victim's
have been posed there's been a recurrent message or theme be it domination,
hatred against women, mother-father fixation, uh ...
BAILEY: D. Chaney-victims were posed by ***. But these seem like parts of a
story.
NATHAN: Each one seems disconnected to the next.
SAM: Yet they're linked, but ... by what?
(SAM has a quick flash of: The killer watches BETHANY STEWART. The killer
pulls the victim toward the middle of the warehouse. The victim is dead, his
arm points in a particular direction. End of flash. Resume to present.)
SAM: He's looking for something particular about each of his victims.
(The computers beep.)
GEORGE: We're back on-line.
(He tosses the file on the table and goes back to the computer. The office
layout appears on the monitor.)
JOHN: Maybe, uh, the connection is staring us right in the face.
BAILEY: George, let's take another look at all the crime scenes. (beat)
Systems permitting.
(GEORGE puts the STEWART-HANLON crime scene up on the monitor. He enlarges the
photo a bit. SAM sees something.)
SAM: George, do that again.
GEORGE: What?
SAM: What you just did.
GEORGE: Digitizing the photographs, I denote an area, I zoom in.
SAM: Right. What, uh ... let me see it again.
(GEORGE zooms in on the upper body of the couple.)
SAM: All right, now zoom in on the heads.
(A black frame appears on the screen to enlarge it, but that's all it'll go.
The black frame remains on screen. SAM stares at it.)
GEORGE: Nope. That's big as it gets.
SAM: No, that's fine. The black border around it?
GEORGE: The frame option. I can get rid of that.
SAM: No, no. Leave it. Just ... move it over to the left.
JOHN: What -- what are you working on here?
SAM: I don't know. I ... I mean, we know that he's posing the victims, but ...
it's almost as if the background is just as important ... like a picture.
George, can--can you get me a printout of this?
GEORGE: Sure. I got to download to another format. Takes me a couple minutes.
(She looks at her watch and realizes the time.)
SAM: Oh. Oh, uh ... you know what? Can you fax it to me? I'm late for a hot
game of Candyland.
(JOHN chuckles. SAM gathers her things and gets up.)
SAM: (to BAILEY) I'll see you.
(SAM leaves the room.)
CUT TO:
[INT. SAM'S PLACE - LIVING ROOM -- NIGHT]
(SAM and CHLOE sit at the table playing Candyland.)
CHLOE: Princess Lolly.
SAM: Princess Lolly. Oh, my god. Ok. It's my turn. (SAM picks a card.) Aha!
What's that?
(She shows the card to CHLOE.)
CHLOE: Um, that's Mr., Uh -
SAM: Mr. Mint?
CHLOE: Yeah.
(SAM looks at the board.)
SAM: Where does that -- I have to go back?
(They both giggle.)
CHLOE: Oh, no. I hope you don't get Gummuly or whatever his name is.
SAM: Bumpy, right.
CHLOE: Thumpy.
(They giggle.)
(The fax machine beeps and SAM looks up as the picture prints out. CHLOE stops
and her face falls a bit at the interruption.)
CHLOE: Mom?
SAM: What?
CHLOE: You said you'd just play with me tonight.
SAM: I am, sweetie. Come on. It's your turn.
CHLOE: (sighs) But I mean, it's not the same. You're just pretending. It's
ok if you can't stop thinking about work.
SAM: You're right, Chlo. Sometimes I can't stop thinking about work, but that
doesn't mean that I'm not having fun with you.
CHLOE: I know.
SAM: I'll tell you what. What do you say you and I go see a movie this week?
CHLOE: Promise?
SAM: I promise. Hmm?
CHLOE: That'll be fun, mommy.
SAM: Yeah. You know what? We're not gonna be able to finish this game because
it's somebody's bedtime.
CHLOE: Mom.
SAM: Mm-hmm. Go brush your teeth, ok?
CHLOE: Ok.
SAM: Ok. Mmm.
(CHLOE hops down and leaves. SAM looks over at the fax MACHINE. She picks up
the fax and looks at the photos of the crime scenes. Something clicks for her.)
(She walks over to the book shelf and removes some art books - ART FOR URBAN
DWELLERS, WHAT'S ART AND WHAT'S NOT. She flips through the books and finds what
she's looking for. A picture of the couple exactly as its in the crime scene
photo.)
(Quick flashes of: The Couple in the crime scene. A photo picture is snapped.
The victim in the tub. A flash of a camera. The victim with his finger
pointing. End of flash. Resume to present.)
(Camera holds on the graphic in the art book.)
(SAM is on the phone.)
SAM: (to phone) Bailey? It's art. He's copying art. No. Listen. Listen.
The two victims with pillowcases over their heads? It's a painting by Rene
Magritte called "The Lovers". And, uh, there's this other one called "The Death
of Marat" by Jacques Louis David.
(She opens the second art book to show the other graphic that matches the second
crime scene.)
SAM: (to phone) It's a dead man in a bathtub with a note. The victim in
Memphis. The killer is copying art.
FADE OUT.
FADE IN.
[EXT. FBI BUILDING - DAY - ESTABLISH]
[INT. VCTF - BULLPEN / COMMAND CENTER -- DAY]
(SAM and GEORGE fill BAILEY in as they head through the Bullpen to the Command
Center.)
SAM: Five paintings each one rendering with the time of death.
GEORGE: Starting in Portland with Courier's "Born into the Womb"
SAM: What I'd like to know is why these paintings.
BAILEY: That's hard to say, but George has located all the originals.
SAM: Yeah, they're all in different museums and collections. I'm gonna dig
deeper, run their provenance and history.
BAILEY: We better dig faster. The pressure to create may be building in him
again.
GEORGE: Too bad this boy doesn't suffer from a creative block, huh?
(They enter the Command Center.)
SAM: Actually, that might be it. I mean, what if his true art, the art he
wants to do, he can't, so he's created a substitute, a new art form.
GEORGE: There's a link--creativity, clinical depression. Like, Hemingway comes
to mind. Van Gogh. Whatever. Toulouse-Lautrec.
(JOHN is already there, standing in front of the wall monitor.)
BAILEY: They killed themselves, not other people. What about the weapon? Do we
have any matches to the model Breslow made?
(He turns around to answer BAILEY'S question.)
JOHN: Artists' tools. I'd say we can, uh ... wipe out brushes, huh? But in
what they call the plastic arts, they're working with, uh, materials ...
cutting, shaping. George, you want to hit this up there?
(GEORGE puts a graphic of the murder weapon on screen.)
JOHN: Now, this guy, he's killing with a long-bladed chisel, razor-sharp,
hardened steel, for volcanic rock like ... like ... like marble.
(SAM has a quick flash of: A hammer hits the chisel with a clang. End of
flash. Resume to present.)
(SAM steps closer to the monitor.)
SAM: So he drives a chisel into their heart ... so he can freeze that perfect
moment in time ... when it becomes art.
(The image on the monitor fluxes with interference.)
GEORGE: Oh, man. This is more than a glitch, bailey. This is serious. We've
got the systems analyst from D.C. On the way, but it's a hardware failure.
BAILEY: (to GEORGE) Stay with it. (to JOHN) John, let's check out the art
scene -- schools, universities, galleries, museums.
JOHN: Looks like we're all about to take a course in art appreciation.
SAM: We're looking for someone who can't do the real thing. He's got the
passion of a Picasso, but a limited talent.
JOHN: He's compensating. He thinks his work is beautiful. He's proud of it
and wants people to see it.
SAM: He may be a frustrated artist, but he still has the ego of a great one.
BAILEY: Come on.
CUT TO:
[EXT. UNIVERSITY BUILDING - DAY]
LEGEND:
MANNING UNIVERSITY
MEMPHIS, TENNESSEE
[INT. CLASSROOM - DAY]
(The classroom is dark and there are several performances going on at the same
time. Two man-woman couples in leotards with a gymnast's ball - a woman with a
gymnast's ribbon.)
(PROF. DESHPANDE claps to get the student's attention.)
PROF. DESHPANDE: No, no, no! You're still outside the image! You need to be
inside the image.
SAM: Professor Deshpande. Hi. Samantha Waters.
(They shake hands.)
PROF. DESHPANDE: Hello.
SAM: It's funny. When I took art in school, we painted fruit.
PROF. DESHPANDE: Well, my class explores the collective. It's all intermodal
today...submerged, transcendent forms.
SAM: Uh, these are the photographs that I phoned you about. We're looking for
the artist.
(SAM hands the photos to the Professor to look at.)
PROF. DESHPANDE: My god. These are disturbing. Why is that? Well, it's very
well done!
SAM: But these people have all been murdered.
PROF. DESHPANDE: Oh, it's sort of a necrotic performance art. Uh ... has
visceral force on an atavistic level. Uh, it works.
SAM: That doesn't exactly sound like a condemnation.
PROF. DESHPANDE: Well, art does not make judgments of that nature. It exists
strictly on its own terms.
SAM: I see. Well, do you have any idea who could be responsible for these?
PROF. DESHPANDE: No idea, but there is a rich history merging death and art.
Uh, one thinks of the Aztecs ... the jar people of Scandinavia, who buried their
dead in poses -
SAM: Oh, any jar people in Portland about 5 months ago?
PROF. DESHPANDE: I'm sorry?
SAM: That's when the murders started. There've been two in Milwaukee and one
here in Memphis yesterday.
PROF. DESHPANDE: Well, I can't help you with Memphis, but Milwaukee seems
straightforward. The new age art expo. I would think this artist would be a
part of that. It's touring the U.S. It started in Portland, moved to
Birmingham. And then Milwaukee.
SAM: Exactly.
PROF. DESHPANDE: I'll tell you who the foremost expert is in this type of
stuff. Alessandro De Salla.
CUT TO:
[INT. STUDIO - DAY]
LEGEND:
DESALLA STUDIO
NEW YORK
(JOHN and NATHAN step into the studio.)
JOHN: Mr. De Salla?
(They pause a moment and look around, waiting for an answer.)
JOHN: Alessandro De Salla!
ALESSANDRO DE SALLA: (o.s.) Just go with it!
(JOHN and NATHAN walk deeper into the studio.)
JOHN: Uh, Mr. De Salla, we'd like to have a word with you, please. We were
referred to you by Professor Deshpande.
ALESSANDRO DE SALLA: Find me. Have fun with it. Let your inner child soar!
(JOHN and NATHAN look at each other and laugh.)
(ALESSANDRO DE SALLA steps out from the back holding a hand-held video camera.)
NATHAN: You want to stop that, please?
ALESSANDRO DE SALLA: Explore your space.
JOHN: Explore this.
(JOHN holds up his badge directly at the camera. He puts it down.)
JOHN: Special Agent John Grant and Nathan Brubaker. (WHISPERS) Turn off the
camera, please, sir.
ALESSANDRO DE SALLA: It's working fairly well, don't you think? Most people get
into it, anyway. Perhaps not the FBI. What's up?
(He turns and walks into the back. They follow him.)
NATHAN: We're interviewing artists who were at Milwaukee's new age art expo.
You helped organize it, right?
ALESSANDRO DE SALLA: Oh, yeah. I did the symposium on de-installationalism in a
proto-constructionist age.
JOHN: Wow. Sorry we missed it. What is it?
ALESSANDRO DE SALLA: Taking things apart. We've been putting things together
for so long, it's time we reverse our energy. Beer?
(He opens the red pipe-decorated refrigerator and looks through it.)
ALESSANDRO DE SALLA: I've got some pretty good micro-brewery ales and lagers.
NATHAN: Uh, no, thanks. Listen, um ... we're working down a list of 70 artists
who were there.
ALESSANDRO DE SALLA: If this is a dope thing, you guys got the wrong crowd. I
mean, maybe a little light dope smoking ...
JOHN: Not drugs. Murder. We're looking for somebody who uses corpses for art.
He kills people and poses them as famous paintings. This was taken at the crime
scene.
(JOHN takes out the photos of the victim in the bathtub and shows it to De
Salla. He stares at the photo as if drawn to it like a connoisseur.)
ALESSANDRO DE SALLA: Whew. I could never do anything like that. I work with
toys and balloons and department store dummies.
NATHAN: We're not saying that you did, but you were in milwaukee at the expo.
Can you help us out?
ALESSANDRO DE SALLA: Well, in the retro underground performance art circles,
there's a lot of mutilation stuff, but that's not REAL real. It's
performance.
JOHN: Well, this is real. He's killed five people already. He's gonna do it
again very soon. Have you heard about it? Anybody talking about it?
ALESSANDRO DE SALLA: No, I haven't. But if the avant avant-garde is what you're
interested in, you ought to talk to people at T.I.A.
CUT TO:
[INT. T.I.A. - MAIN LOBBY - DAY]
LEGEND:
TENNESSEE INSTITUTE OF ART
MEMPHIS, TENNESSEE
(SAM and the Director of the T.I.A. walk down the stairs to the main lobby.)
ELLEN TERRIO: We have over one hundred fifty students here at T.I.A., and
that's just the fine arts, not counting the part-timers, the ones who are taking
classes for no credit.
SAM: And where are they all?
ELLEN TERRIO: On break while we remodel. We are redoing our whole office as
well, for the first time in what seems like a century. I'm really sorry that
we're so torn up here. You've just missed the most wonderful end-of-semester
show. It was a real grab bag. We had oils, installations, mixed media, some
photography. We had it all.
(They reach the bottom and look around. SAM sees a photo on the wall and is
immediately attracted to it.)
SAM: Who took this photo?
ELLEN TERRIO: I don't know. It was an all-student show. Oh, it's not signed,
is it? That's very common these days. It is all the rage to depersonalize. It
is a marvelous recreation, though, isn't it? Lawhorn's Who #1.
(Quick flashes of the crime scenes and of the hammer and chisel. End of
flashes. Resume to present.)
SAM: Can you find out who took it?
ELLEN TERRIO: I can cross-reference by number when I get a break.
SAM: Could you do it now, please?
ELLEN TERRIO: I'm sorry. Everything's a mess here. I mean, the list could be
anywhere. It's very important. Well, ok. I'll ask one of the teachers. Maybe
she'll recognize the picture and know which student did it. I'll get you a list
of our faculty.
(She leaves. SAM turns back to the photo.)
SAM: Thank you.
CUT TO:
[INT. VCTF - COMMAND CENTER - DAY]
(GEORGE is on the headset with SAM.)
GEORGE: Is that a man or a woman? Ok. Dana Connors, O-R-S. I got it.
(He types in the information.)
GEORGE: So what, eight teachers in all?
INTERCUT WITH:
[SAM]
SAM: Yeah. Get the list to the guys. Whoever it is must be studying with one
of these teachers here in Memphis.
GEORGE: They're on their way. E.T.A. - one hour. So, you said you're
interviewing the first two teachers. Am I right?
SAM: Yeah. I'll check in with you around 2:00. Ok. Thanks, George.
(SAM hangs up.)
(GEORGE goes through the artwork on the computer and he finds the matching art
piece.)
GEORGE: Son of a bitch.
(The phone rings. He answers it.)
GEORGE: Hello. It's George. Bailey, what's up?
INTERCUT WITH:
[INT. CAR (MOVING) - DAY]
(As he drives, BAILEY is on the phone with GEORGE.)
BAILEY: Just got to Memphis. On the way to my first interview. Is everyone
checked in?
INTERCUT WITH:
[INT. CAR (PARKED) - DAY]
(NATHAN and JOHN are in their cars.)
NATHAN: We're already here, Bail. John's headin' South. I'm going over to the
river district.
BAILEY: Has Sam checked in yet?
(NATHAN'S phone starts to have some interference.)
NATHAN: Sam's interviewing two arts teachers on the north side of town. Hello?
Hello? Hello?
(Back at the command center, GEORGE'S computer starts to have interference
again.)
GEORGE: What the -- Nathan? Bailey?
BAILEY: I'm here, George.
GEORGE: (from phone) What about Nathan? We lose him?
NATHAN: (to phone) Hello? Hello?
(NATHAN gives up and hangs up. He looks at JOHN.)
NATHAN: Head on out, buddy.
JOHN: Catch ya around, man.
GEORGE: We lost them. Technicians have disabled our computer link, Bailey.
They say the system has almost definitely been compromised, so switch to a high-
security frequency, will you?
BAILEY: I'm losin' you, George. George?
(BAILEY hangs up.)
CUT TO:
[EXT. WHARTON'S RESIDENCE - DAY]
(SAM rings the bell and waits for an answer. She tucks the list back into her
bag. The door opens.)
SAM: Professor Wharton.
EDGAR WHARTON: Yes.
SAM: Sam Waters, F.B.I.
(She shows him her I.D.)
EDGAR WHARTON: Right. Miss Ellen Terrio told me you'd be calling. You want to
talk to me about a student.
SAM: Yes.
EDGAR WHARTON: Well, come in.
SAM: Thank you.
(SAM steps inside. EDGAR WHARTON closes the door behind her.)
CUT TO:
[INT. VCTF - COMMAND CENTER - DAY]
(GEORGE goes over the list:
JEREMY MICHALES
8111 Sneed Avenue, Memphis, TN 38118
EDGAR WHARTON
225 Bonneville Lane, Memphis, TN 38118
PHYLLIS TEMPLETON
1258 Talley Road, Memphis, TN 38118
BARRY STERN
7334 Westvale Circle, Memphis, TN 38118
AVIAN WINTERS
805 Brattle Memphis, TN 38118
LOUISE LANDERS
(The monitor starts to have interference. Poor George.)
GEORGE: Oh, no, no, no. Not again. Not again. Not again.
CUT TO:
[INT. JACK'S PLACE]
(JACK sits in front of his monitor having the same interference. In fact, he
appears to be the cause of it, erasing each name on the list from the bottom
up.)
[INT. VCTF - COMMAND CENTER - DAY - CONTINUOUS]
(GEORGE taps the monitor screen.)
GEORGE: (to the monitor) Come on. I need you.
[JACK'S PLACE]
(JACK removes all the names.)
[INT. WHARTON'S RESIDENCE - DAY]
(EDGAR WHARTON leads SAM into his house/studio.)
EDGAR WHARTON: Miss Ellen Terrio described the piece you had your eye on and I
think I know the artist.
SAM: You know, this is very kind of you. I know that you have a tutorial this
afternoon.
EDGAR WHARTON: I hold all my classes up here in the loft, but with the
remodeling at T.I.A., I just can't think.
SAM: Well, I'll try not to take up too much of your time.
EDGAR WHARTON: Don't worry. I've canceled the class for the day. We've got all
the time in the world.
(He leads her down the stairs into his studio. SAM reaches the bottom and sees
the photo hanging on the wall. It's a close up of head shot of "The Lovers" in
black and white. She stops and stares a the photo.)
EDGAR WHARTON: Now, over here, I've got another painting by the artist I think
you'll enjoy.
(SAM stares at the photo and has a quick flashback of: The Photo being taken of
the two victims.)
(She turns around to look at EDGAR WHARTON only to find him holding a gun on
her.)
EDGAR WHARTON: Actually, it wasn't a student at all. If you just look at it in
a positive way, you are my ... Joan of Arc.
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. WHARTON RESIDENCE - STUDIO -- DAY]
(We open on the book of Joan of Arc and the gun on the counter. EDGAR WHARTON
has SAM bound fully to the main wooden beam at the center of the room. He
rushes down the stairs eager to work on his latest piece of art.)
EDGAR WHARTON: I trust you are comfortable, Miss Waters.
(She notices that he holds his right hand close to his body as he works with his
left hand.)
SAM: What's wrong with your hand?
(He looks up and sees the photo.)
EDGAR WHARTON: Oh, the painting's crooked. I must fix it. Can't have my
gallery out of order.
(He walks over to fix it.)
(SAM looks at the art supplies. She has a quick flash of the art supplies,
oils, acrylics, etc. End of flash. Resume to present.)
SAM: That's why you stopped painting, isn't it? Because you hurt your hand.
You couldn't do it anymore.
EDGAR WHARTON: You are quite the elegant lovely, far surpassing all of the
other Jeanne D'Arcs.
(She has another flash. She envisions him grabbing a brush and knocking over
the containers of paint. End of flash. Resume to present.)
SAM: You were right-handed, but something happened?
EDGAR WHARTON: Let's not talk about my hand, shall we?
SAM: Well, what was it, an accident or something?
EDGAR WHARTON: Yes, yes -- an accident. I was accidentally born into a family
that knew nothing about art or artists, and then I was accidentally discovered
to be a child prodigy in oils and acrylics at the age of three.
SAM: And then you hurt your hand.
EDGAR WHARTON: Then I gained my genius.
SAM: Is that the only reason you thought people liked you? Because you were a
prodigy?
EDGAR WHARTON: You have exquisite bone structure. The expression in your eyes
are unsurpassed. And you came looking for me. That was another accident.
CUT TO:
[INT. CAR (MOVING) - DAY]
(BAILEY is on the phone with GEORGE.)
GEORGE: (from phone) Bailey, there's a problem in the telecommunications link.
Even the security frequencies are affected.
BAILEY: Sam's probably trying to call in, can't get through.
GEORGE: Ok. I'll call her beeper and double check.
BAILEY: Triple check. Call me right back. We need to locate Sam.
[INT. WHARTON RESIDENCE - STUDIO -- DAY]
(SAM looks at the painting EDGAR WHARTON set up in front of her of Joan of Arc
burning at the stake. It's a poster of the "1974 PARIS EXHIBITION / "BODIES IN
SPACE" September 1st - December 3rd".
SAM: Tell me, why did you choose to copy these particular paintings?
(EDGAR WHARTON adjusts the photo equipment.)
EDGAR WHARTON: When I was 12, my father took me to France. We went to museums
and looking at the paintings, he said to me, "Why can't you be as good as these
painters?" I envy you. I can only emulate great art, but you can actually
become it.
SAM: I'm not one of your creations, Mr. Wharton. Even you must realize how
absurdly arrogant that is.
EDGAR WHARTON: Why must I? I will take your evanescent, mortal, pointless
body, and I will create something eternal. And if that's not creation, I don't
know what is.
SAM: So art is more important than life. Is that what you're saying?
EDGAR WHARTON: It's a well-established fact: People wind up dead and forgotten
in graveyards. Art is treasured in museums. You know, this is the first time
I've actually created one in my studio. You should feel flattered.
[INT. CAR (MOVING) - DAY]
(BAILEY is on the phone with GEORGE.)
BAILEY: George ... George, it's Bailey. Can you hear me?
GEORGE: Our com signals are intermittent.
BAILEY: What did you figure out?
INTERCUT WITH:
[INT. VCTF - COMMAND CENTER]
GEORGE: I think I know what picture he's gonna copy next. The photo that Sam
found at T.I.A. finally gave me the key. Ok, get this. There was a show in
Paris in 1974 in which it was featured. Now, that show brought all these
paintings together for the one and only time. I'm in the middle of downloading
the catalog right now.
BAILEY: So all the crime scenes were paintings in the show?
GEORGE: Mm-hmm. Yeah, and so all of the other paintings, except for one, are
landscapes. His next victim, I think, will be a woman. It's Saint Joan. He's
playing with fire.
BAILEY: Has Sam checked in yet?
GEORGE: No.
BAILEY: Ok. That's it. I'm heading to Sam's last known location, George.
(The connection is cut off with interference.)
BAILEY: George. George!
GEORGE: Bailey, the link is down again. Try another frequency.
[INT. WHARTON'S RESIDENCE - DAY]
(EDGAR WHARTON continues to adjust his photography equipment.)
SAM: You know, you could still be a great artist. People have overcome
incredible odds.
EDGAR WHARTON: Look skyward, Miss Waters. It heightens the effect.
SAM: But then you never really wanted to be an artist, did you? But not
really. Experts said you were a prodigy, but ... you knew better, didn't you?
You weren't the genius they thought you to be. And then you hurt your hand, and
you had an accident. Maybe it wasn't an accident. Maybe you did it on purpose.
So now all you can do is approximate, emulate, copy. There's really no genius
in that, is there?
EDGAR WHARTON: No, no, no, no. I respectfully disagree. I assure you I did
hurt my hand, my arm. I crushed the nerves and the bones. I could barely hold
a brush, much less paint. But once I quit agonizing over my tragedy, I realized
that it was actually a gift, and then I forced myself to discover that this was
my true art.
(He stares and admires his photo of the two dead victims hanging on his wall.)
SAM: This? You think that this is art? This is not art, Mr. Wharton.
(EDGAR WHARTON walks over to the table and starts putting on his latex gloves.)
SAM: Those are dead bodies, people ... who had lives and loved ones and
futures.
EDGAR WHARTON: You don't know what you're talking about.
SAM: Think about it.
EDGAR WHARTON: What is the single most impactful, world-changing artistic work
in the history of mankind?
(He picks up the rope and walks over toward her.)
EDGAR WHARTON: The Crucifixion of Christ ... depicted countless times all over
the planet. It's a violent, ugly act of death.
(He wraps the rope around her neck.)
EDGAR WHARTON: I am following .. in the holiest of traditions. Thank you for
your beauty.
(BAILEY quietly sneaks into the studio.)
EDGAR WHARTON: Thank you for coming to me. Thank you for your beauty.
BAILEY: Don't move, Wharton! F.B.I.!
(EDGAR WHARTON looks up and sees BAILEY. He moves around SAM and takes ahold of
the rope around her neck.)
EDGAR WHARTON: Either I kill her, or you will.
BAILEY: Let her go.
EDGAR WHARTON: Drop the weapon.
BAILEY: There are more agents on the way. Why don't you give yourself up.
(He takes out the small chisel and holds it against SAM'S neck.)
EDGAR WHARTON: I said ... drop the weapon or else ... she ... dies, all right?
So drop the weapon.
(BAILEY takes a beat, then drops the gun. It hits the ground with a clang.)
EDGAR WHARTON: Good. Now kick it over the side.
(BAILEY kicks the gun away from him.)
EDGAR WHARTON: Good.
BAILEY: Interesting medium you work in.
EDGAR WHARTON: Yes, well, I've been perfecting it for years now.
(BAILEY walks closer to WHARTON.)
EDGAR WHARTON: Stop!
(After a beat, BAILEY resumes his movement closer to WHARTON.)
BAILEY: (calmly) So this is your Joan of Arc?
EDGAR WHARTON: Yes, yes. You recognize the piece.
BAILEY: It's not quite as realistic as the rest of your work.
EDGAR WHARTON: What do you mean?
BAILEY: Well, there seems to be some detail missing.
EDGAR WHARTON: Well, it's a work in progress.
(BAILEY continues to move closer to him.)
EDGAR WHARTON: Stop!
(After a moment, BAILEY continues to work his way closer to WHARTON, trying to
get to point blank range.)
BAILEY: (looks around) Where are the flames ... or the crucifix?
EDGAR WHARTON: Aw, shut up! Shut up! You know, I don't mean to brag, but I
have somewhat perfected the act. You see, it's a simple twist of the device.
It's relatively painless, and then ... she becomes pliable.
(In one single movement, BAILEY takes out his gun from his back and fires three
times, point blank, at WHARTON. Only WHARTON. WHARTON falls to the ground,
dead.)
(BAILEY walks over to SAM and puts his gun away.)
BAILEY: You ok?
SAM: Yeah.
(He unties her.)
BAILEY: Now he's his own work of art.
(Quick photo flashes of EDGAR WHARTON.)
(Camera holds on EDGAR WHARTON upside down, his arms extended as if on a cross.)
CUT TO:
[EXT. FIREHOUSE -- NIGHT]
[INT. SAM'S PLACE - NIGHT]
(SAM opens the door to CHLOE'S room and looks inside. She's holding a black and
white stuffed panda in her arms as she watches CHLOE sleep. She walks into the
room and sits on the edge of the bed. CHLOE wakes up.)
CHLOE: Hey.
SAM: Hey. I guess we didn't get to make it to the movie tonight, did we? I'm
sorry, Chlo.
CHLOE: It's ok. (She looks at her mom.) Are you all right?
SAM: Yeah, sweetie. I'm fine. I'm just fine.
CHLOE: Sometimes I worry about you.
SAM: Oh, Chloe. You don't have to worry about me. That's not your job. Your
job is just to be a little girl. Ok? You leave the worrying to me.
SAM: Here. Look what I got ya.
(SAM shows her the black and white panda.)
CHLOE: Thanks. I don't really need a new toy. I just need you.
SAM: Chloe, you've got me.
(She gives CHLOE a hug.)
SAM: Oh, sweetie, you've got me.
FADE TO:
[INT. VCTF - BULLPEN / COMMAND CENTER -- MORNING]
(GEORGE updates BAILEY on the computer systems.)
GEORGE: So, the debugging team got rid of the virus.
BAILEY: Any idea where it came from?
GEORGE: We got it narrowed down to four possible sites in the midwest. We
deleted the ghost files, decoded the real files, so, you know, so far, so good.
(JOHN and SAM walk into the office and head for the Command Center.)
JOHN: So, how was the zoo yesterday?
SAM: Oh, it was great. You know that book that you gave to Chloe?
JOHN: Yeah.
SAM: We filled half the day looking for a kodiak.
JOHN: Mm-hmm. A kodiak? I see.
(They walk into the Command Center and take their seats at the table.)
BAILEY: Good morning.
JOHN: Good morning.
SAM: Good morning.
(On the monitor is a message:
EEE!
MAIL
SAMANTHA
BAILEY: What's that?
(GEORGE looks up at the screen. Everyone looks up at the screen.)
GEORGE: I don't know. Looks like a piece of e-mail addressed to Sam.
Everything's backed up. Here goes.
(GEORGE opens the mail and a photo of SAM appears on screen. It fades into a
photo of BAILEY. It fades into a photo of JOHN. It fades into a photo of SAM
and CHLOE at home.)
(SAM realizes what it is.)
SAM: He's inside.
(On the monitor is a photo of GEORGE on the phone.)
GEORGE: No. No, no, no. No. We've had the top security brass from the Hoover
Complex all over this system. Nobody could get in.
(On the monitor is a photo of NATHAN.)
NATHAN: If he can get through to us on the computer, can't we get back to him
on the same computer, trace it back to him?
(On the monitor is a photo of ANGEL.)
GEORGE: Blind reflector sites, encrypted links -- could be like finding the
proverbial needle in a galaxy of haystacks.
JOHN: (frustrated) "No" is the only answer we get from you these days. Come
on!
GEORGE: (voice rising) You know what, John? You think you can do better?
(GEORGE turns the laptop around and shoves it at JOHN.)
JOHN: (shouts) It's not my job!
BAILEY: (interrupts) Stop it. He's in the system. Do you understand that?
No file ... no communication -- nothing is secure.
(On screen, JACK signs on: J-A-C-K.)
(SAM realizes something else.)
SAM: He's watching us.
(On the monitor, a live video security camera view of the command center appears
on screen.)
[JACK'S PLACE]
(On JACK'S computer monitor, the same live video security camera feed is on
screen. JACK sits back in his chair, remote in hand as he watches the screen.)
JACK: (whispers) I see you.
[COMMAND CENTER]
(Everyone is still as can be afraid to move or make a sound.)
BAILEY: He's using our own security camera.
(beat)
BAILEY: Turn that damn thing off. Turn it off.
(GEORGE reaches out and hits the key on the laptop to shut it off.)
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
1X12: LEARNING FROM THE MASTERS
ORIGINAL AIR DATE ON NBC: 02/01/1997
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
Special Guest Star
BRIAN BROPHY
TUCK MILLIGAN
TOM TOWLES
TONY ABATEMARCO as Allessandro de Salla
JENNIFER GRIFFIN as Prof. Desphande
Co-Producer: JOHN FORREST NISS
Produced by: ANTHONY SANTA CROCE
Supervising Producer: CYNTHIA SAUNDERS
Supervising Producer: GEORGE GEIGER
Creative Consultant: KEN SOLARZ
Executive Producer: LARRY HERTZOG
Written by: JEAN GENNIS & PHYLLIS MURPHY
Directed by: KEVIN HOOKS
==========================
END CREDITS
==========================
Sanders/Moses Productions
NBC Studios
NBC Enterprises
Also Starring
GIBBY BRAND as Jerz-y
JANE SINGER as Ellen Terrio
With
VIRGINIA HAMILTON as Nancy Stewart
Dancers
EDGAR
ROBIN FORD
ARRORA LAAIN
TROY CHRISTENSON
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 CROCE
First Assistant Director: CAROL GREEN
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
Gaffer: JOHN SPRAGUE
Key Grip: RONN COONEY
Construction Coordinator: ANDREW MOORE
Transportation Coordinator: STEVE ZERWECK
Stunt Coordinator: BUCK McDANCER
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: KRISTINE CHADWICK
Hair Stylist: LAURA DELUISA
Choreography: KEITH YOUNG
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
Post Production Supervisor: LYNN STEVENSON
Assistant Editor: KERRY MICHAEL TYM
Insert Coordinator: CRAIG FELLER
Post Production Coordinator: TINA TRIVAN
Video Playback Supervisor: BOB MORGENROTH
Supervising Sound Editor: PETER AUSTIN
Sound Effects Editor: LINDA KEIM
Music Editor: ADAM SMALLEY
Assistant 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:03/21/2004~lky
http://www.webphilia.com/~anthology/wnp.html