PROFILER
1X13: THE HOUSE THAT JACK BUILT
ORIGINAL AIR DATE ON NBC: 02/08/1997
TRANSCRIBED FROM DVD
Written by: LAWRENCE HERTZOG
Directed by: CARL SCHENKEL
Transcript by Intrepid
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Please do not archive this transcript without permission from the
Transcriptionist.
==========================
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==========================
SUMMARY: After Jack tries to kill Grace's husband, everyone close to the
members of the VCTF team moves into the offices. Unsatisfied with just waiting
for Jack to strike again, the team gets pro-active and launches a scheme to trap
Jack. But Jack is one step ahead of them. Jack eventually leads them to a
Catholic orphanage that used to house his lair setting off a trap with Bailey,
John and Sam inside.
==========================
PROFILER
1X13: THE HOUSE THAT JACK BUILT
==========================
FADE IN.
[A LOCK]
(Night. A black gloved hand unlocks the door and opens it. He cuts the wire.)
(Inside the house, the white poodle hears something, gets up and barks. The
poodle runs out of the room and down the stairs. MORGAN, who is sitting at the
table, watches the dog leave, but doesn't move.)
(The white poodle runs down the stairs and stops in front of the door. Through
the door glass, the shadow of a man appears just behind it. The poodle stops
and barks at the man.)
(MORGAN sits at his desk upstairs and calls out to his wife.)
MORGAN ALVAREZ: Grace?
(The man standing behind the front door inhales from his cigarette. The poodle
continues to bark.)
MORGAN ALVAREZ: Grace?
(The front door opens. The man standing behind the front door raises the gun
and fires. The dog yelps.)
(MORGAN takes off his glasses and stands up to check on the dog.)
(The man in the doorway steps into the house.)
(MORGAN walks up to the door.)
MORGAN ALVAREZ: You worked late tonight.
(The door opens. JACK raises his gun and fires at MORGAN, hitting him in the
face.)
MORGAN ALVAREZ: Aah!
JACK: I'm working the graveyard shift.
(JACK steps into the room.)
CUT TO:
[LATER]
(GRACE runs up the front walk toward the front door. She sees the dog through
the glass and opens the door.)
GRACE: Foxy?
(She puts her briefcase down and finds the poodle lying down unconscious in the
front hall. She kneels down to check on the dog.)
(cc) GRACE: What's the matter? You ok?
(She looks up and calls out to her husband.)
GRACE: Morgan? Morgan?
(GRACE starts to get worried as he doesn't answer her.)
GRACE: Morgan!
(She starts running up the stairs all the while calling to him.)
GRACE: Morgan? Morgan!
(She reaches the second floor landing and calls out to him.)
GRACE: Morgan?
(She runs and checks the rooms.
GRACE: Morgan, I gotta--
(She opens the bathroom door and finds MORGAN tied and hanging upside down over
the bathtub filled with water. The entire thing is rigged.)
(MORGAN'S awake, his mouth taped, his face red from hanging upside down for who
knows how long.)
GRACE: It's ok, it's ok.
(GRACE looks at the rigging and quickly assesses what it's supposed to do. She
grabs the plunger and breaks the light bulb in the ceiling light.)
GRACE: It's ok, Morgan. It's ok!
(She grabs a rag and dips it in the tub of water.)
GRACE: All right, baby.
(She wraps the wet towel around the plunger handle and shorts out the lamp.)
GRACE: Aah!
(GRADE takes off the tape and releases MORGAN from the rigging. She crawls over
to him and hugs him.)
GRACE: Oh, oh.
(Thunder rumbles outside.)
FADE TO
END OF TEASER
ROLL TITLE CREDITS
FADE IN.
[INT. VCTF - BULLPEN -- NIGHT]
(The elevator doors open. SAM, ANGEL, CHLOE and NATHAN walk into the bullpen.
They're carrying overnight bags. CHLOE carries the big black and white stuffed
panda.)
CHLOE: Mommy, did you bring my bubble light?
SAM: No, sweetie, mommy didn't have enough time. I'll get it later, okay?
ANGEL: (to NATHAN) Is Morgan all right?
NATHAN: I got a call from Bailey. I haven't heard anything.
ANGEL: Should we go to your office?
SAM: Yeah. Bailey said there were some cots there. (to ANGEL) Can you take
Chloe?
ANGEL: Yeah.
SAM: I'll be there in a minute, ok?
ANGEL: Come on, sweetie.
(SAM kisses CHLOE as ANGEL takes her to the office. SAM gives NATHAN her bags
and they leave. SAM sees GEORGE walk in.)
RICH WARREN: Oh, damn, it's mission impossible.
GEORGE: It's just an office, Rich.
(Across the bullpen, SAM heads into the lab.)
RICH WARREN: No, where I work is just an office. Where we going?
GEORGE: Command Center.
RICH WARREN: The Command Center. Just an office, right.
(In the lab, GRACE closes the curtain. MORGAN is sitting on the table.)
GRACE: If you moved an inch, you would have been electrocuted.
(He doesn't say anything.)
GRACE: (continues) And if I had taken the time to go down to the garage to
kill the circuit breaker, you would've drowned.
MORGAN ALVAREZ: All I kept thinking was ... that I wanted him to kill me
because ... if he did something terrible to you, I ... I didn't think I could
live with that.
(MORGAN cries on GRACE'S shoulder.)
GRACE: It's ok.
(SAM pushes the curtain open and sees them. GRACE looks at SAM. BAILEY pulls
the curtain open wider.)
BAILEY: Briefing in the command center. Five minutes.
(GRACE nods.)
(BAILEY leaves. SAM stands there and watches a while longer before leaving.
GRACE continues to hold MORGAN as he cries.)
CUT TO:
[HALLWAY TO COMMAND CENTER]
(BAILEY rolls up his shirt sleeves as he and SAM make their way to the Command
Center.)
BAILEY: Sam, Jack's intensifying. I think we should play all our options.
(SAM stops walking and turns to look at BAILEY.)
SAM: What does that mean?
BAILEY: Chloe. Let's find out what she saw.
(Quick flashback of: [From 1X07: Night Dreams] CHLOE in her pajamas standing
in the house and looking at JACK. Flash of the picture CHLOE drew. End of
flashback. Resume to present.)
SAM: (shakes her head) No. No, I'm not putting her through that. That is not
an option.
(BAILEY doesn't say anything. He turns and heads into the Command Center.)
[COMMAND CENTER]
(Everyone is there. BAILEY and SAM walk into the room.)
BAILEY: Are we secure?
GEORGE: Well, unless this guy is playing with toys I don't know about, we're
airtight. Bailey, meet my roommate, Rich Warren. Bailey Malone.
BAILEY: Finally we meet. Sorry it's not under better circumstances.
RICH WARREN: Yeah, me, too.
BAILEY: All right, two reasons we're here: First, for the moment, this is the
only place we can have absolute security. Second, jack has upped the ante. He
thought he could split us up, but he hasn't. So he's decided to start killing
us. Yesterday afternoon, Jack penetrated our security and communications
system. Now, thanks to George's diligence, it's been reclaimed, and we are now
secure once again.
GEORGE: This guy's got covert-quality hardware. He's got laser stuff he can
bounce off your window pane from over a mile away and still hear a conversation.
BAILEY: As of late yesterday afternoon, surveillance teams began sweeping
everyone's home. Unfortunately, they didn't get to Grace and Morgan's quickly
enough.
GEORGE: We found most of the others, but he scrambled the signal big-time, so
we can't trace him back to the source. So, for the time being, we're just gonna
leave them in place.
BAILEY: As soon as John gets here, we're sealing off access, including phones.
I want to stress, from here on out, we come and go in security caravans only.
MORGAN ALVAREZ: We have to be shut up, bunkered in this hole in the ground,
while this maniac goes around doing whatever he wants?
RICH WARREN: How long are we talking about here? I've got a job.
MORGAN ALVAREZ: I can't just not show up for work.
NATHAN: Bailey, is that really necessary?
BAILEY: The bureau will make the appropriate calls to all your employers. Say
the word, you get a new identity. We'll take you anywhere in the world.
SAM: Please, don't anyone stay on my account.
(No one says anything.)
BAILEY: Why don't you go get some rest? We'll talk strategy 7 A.M.
(Everyone stands up and leaves. JOHN walks in.)
JOHN: Hey.
(BAILEY sighs heavily.)
JOHN: What did I miss?
BAILEY: Sit down.
(JOHN sits down.)
CUT TO:
[LAB]
(GRACE sits up in bed and watches MORGAN sleep. He rolls over and she sheet
slides off him. GRACE gently covers him and sits next to him on the cot.)
FADE TO
[OFFICE]
(GEORGE watches the monitor and RICH as he's sleeping.)
[SAM'S OFFICE]
(SAM'S awake and watches ANGEL and CHLOE sleep.)
[BAILEY'S OFFICE]
(GEORGE and GRACE dip into BAILEY'S liquor tray. GRACE and GEORGE clink
glasses. JOHN is sitting in the chair. It appears that everyone's there.)
GRACE: I'm glad Morgan's getting some sleep.
(BAILEY gets up and heads for the door.)
BAILEY: I'm gonna check on Sam. She seemed a bit rattled.
GRACE: Yeah, she's very quiet.
(SAM walks into BAILEY'S office. He stops when he sees her.)
BAILEY: Hey.
SAM: I have to go after him.
BAILEY: And how will you manage that, Sam?
(Everyone turns around to listen.)
BAILEY: We don't even know where he is.
SAM: Well, he knows where I am.
BAILEY: You honestly think I'd let you go out there alone?
SAM: I'm the one he wants, Bailey. I've got no choice.
JOHN: We do, Sam. We're not walking away.
NATHAN: And we're not gonna let you walk out by yourself, either.
GRACE: Jack's not your fault, Sam, and nobody here feels that.
SAM: This has to end.
JOHN: We're gonna hit Grace's house first thing in the morning.
CUT TO:
[INT. GRACE'S RESIDENCE - BATHROOM - DAY]
(The photographer snaps a photo and moves aside. JOHN holds up the black light
looking for the message. GRACE stands nearby watching.)
(JOHN puts the light in the tub and the message is there:
THIS TUB'S FOR YOU, SAM
(SAM stares at the message.)
(Quick flashes of all the other messages she's received.
NOW I CAN KILL
SAM YOU'VE COME BACK TO ME
NOW I CAN KILL
HELL ON EARTH
Resume to present.)
(She looks at the rigging over the bathtub.)
(Quick flashes of MORGAN hanging upside-down in the rigging. JACK turns the
water on. End of flash. Resume to present.)
(An AGENT walks up to BAILEY and whispers something in his ear. BAILEY motions
for everyone to be silent. He guides SAM out of the bathroom. Everyone
follows.)
(The AGENT shows them what he's found. He points to the lamp where a bug has
been planted.)
BAILEY: "This tub's for you, Sam." Well, this time he screwed up.
(He motions for her to continue the conversation.)
SAM: Yeah, well, this isn't his first mistake. I mean, he wanted to kill Coop,
but he ended up having to kill someone else instead.
(Quick flashes of: [Scenes from 1X06: Modus Operandi] The dead body in the
bathroom stall at the train station. The abandoned wheelchair in the center of
the station. End of flashback. Resume to present.)
SAM: So he changed his M.O., tried to scare you. Thought you'd all abandon me
to protect yourself, but he was wrong.
(BAILEY walks downstairs to whisper to the AGENT there.)
[INT. JACK'S PLACE -- CONTINUOUS]
(JACK sits in front of his computer monitor. He sees the front of GRACE'S house
and can hear the conversation inside.)
SAM: (over mike) Now, Morgan. He's angry, can't control the situation. He's
getting stupid.
[EXT. GRACE'S HOUSE - CONTINUOUS]
(The door opens and they walk outside.)
JOHN: The only time we saw Jack lose it was when he went ballistic over Coop.
SAM: So far, yeah.
JOHN: Think he's watching now?
SAM: Probably, yeah.
JOHN: Tell you what. In three seconds, I'm going to put my arm around you, and
I'm gonna kiss you.
SAM: What?
JOHN: Just go with it.
(JOHN turns and kisses SAM.)
[JACK'S PLACE]
(JACK throws something at the monitor. He stands up and walks over to his desk.
He picks up an album and leafs through the pages. He finds the page on JOHN and
removes one of the photos.)
(He sits at his workstation, picks up the scissors and cuts JOHN out of the
photo.)
(He then proceeds to cut JOHN down to his head. He picks up the candle and
burns JOHN'S head.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. VCTF - COMMAND CENTER]
(BAILEY walks past NATHAN on their way to their seats.)
BAILEY: What's the holdup with catering?
NATHAN: Background checks. I'll have it up tomorrow.
(They both sit down at the conference table; everyone is already there.)
BAILEY: Let's get to it, huh? Jack's working locally, so John, Nathan, I want
you to work your snitches find out if they know anything.
SAM: He's a genius, and he's bored. Maybe if we taunt him, it'll make him
crazier, and then we won't have to find him. He'll come to us.
NATHAN: Am I the only one having a hard time with that? Jack can't possibly
think that Sam and John are together. He knows it's a trap.
JOHN: Is it so unbelievable -- me and Sam?
SAM: Of course, he knows it's a trap. He's probably glad of it.
(Quick flashes of: [INT. JACK'S PLACE] JACK works at his workstation, the map
is spread out on the table. Close up of him putting on latex gloves. Close up
of a syringe. Close up of the gloves. End of flashback. Resume to present.)
SAM: We're talking about a man with a tremendous intellect. He has a detailed
knowledge of anatomy, electronics. He's a hacker.
BAILEY: God knows what else he can do.
SAM: He craves, he depends on new challenges, puzzles. He probably killed for
the first time just to see if he could get away with it. And then he began
needing greater and greater levels of difficulty. He'll want to watch me with
john. He'll want to wallow in his rage.
GRACE: Kind of hard to watch you while we're locked up in this cave.
SAM: When we leave the VCTF to work the case, John and I can steal a moment.
BAILEY: We're gonna need a place Jack's already bugged.
JOHN: We could always use my cabin in the country.
NATHAN: I'm sure Jack's infested it with some kind of bug.
GEORGE: You know he has. Place is swarming with laser mikes. You know he's
even got a remote-controlled video rig up in your trees?
BAILEY: If they go, I want to be right on top of it with our own surveillance.
GEORGE: Yeah, but long-range cameras, right? So he doesn't pick it up.
BAILEY: I'm not gonna bet anyone's lives on it. Let's see the diagram of his
sightlines.
(GEORGE puts the cabin's schematics up on the monitor.)
GEORGE: Well, as long as you stay on the west side of the deck, he can see you.
We started this, Bailey. We have to finish it. You can set up a van outside as
coverage.
GEORGE: Use infrared to see everything.
JOHN: Having surveillance check the place out is enough reason for us to be
there.
NATHAN: We have to be able to hear it, too.
SAM: Get a lip-reader. Put them behind a monitor. They can be your ears.
(SAM looks at BAILEY who still has to make the final decision.)
BAILEY: Ok. Once you're there, stay where I can see you. First whiff of
trouble, mouth "Jack."
(SAM and JOHN glance at each other.)
SAM: Ok.
(They close the file folders on the desk.)
CUT TO:
[INT. JACK'S PLACE]
(JACK watches the monitors on the FBI building and on the Firestation.)
(He sees JOHN open the car door for SAM. He sees her reach out and kiss JOHN
before getting into the car.)
JACK: (whispers) I see you.
(He watches SAM kiss JOHN.)
CUT TO:
[EXT. CABIN - DAY]
(SAM and JOHN exit the car.)
SAM: It's beautiful.
JOHN: You like it?
SAM: Uh-huh.
(They walk up the front stairs toward the two-story cabin.)
SAM: Now, did you build this?
JOHN: I had a little bit of help building it.
SAM: Yeah?
JOHN: I didn't do it all on my own ...
SAM: It's beautiful.
JOHN: Though I like to take credit for it.
(They kiss.)
[EXT. ROADSIDE NEAR CABIN - DAY -- CONTINUOUS]
(The AGENT covers the van with a covering. When he's finished, he slaps it a
couple of times before leaving.)
[INT. VAN (PARKED) - CONTINUOUS]
(GEORGE, BAILEY, NATHAN and SARAH, the lip-reader, are in the van monitoring
JOHN and SAM inside the house.)
GEORGE: At this distance, I got ten feet of resolution. Only things on two
legs so far are Sam and John.
SARAH: They're talking about how beautiful the place is.
BAILEY: I need word for word, Sarah.
SARAH: "My ... my god, you turn me on."
(On the monitor, JOHN and SAM kiss.)
(NATHAN starts to chuckle.)
NATHAN: That one was John.
(GEORGE can't help but laugh, too.)
[EXT. CABIN]
(JOHN and SAM kiss.)
[INT. JACK'S PLACE]
(On the monitor, JACK watches JOHN and SAM kiss.)
JACK: What?
(As he watches, JACK gets more and more agitated. He picks up the phone and
dials.)
[EXT. CABIN]
(SAM'S phone rings. She answers it.)
SAM: Hello?
JACK: (to phone) (whispers) God, I wish you could see yourself.
SAM: And why is that, Jack?
JACK: Think what you're doing to Tom. It's an abomination.
SAM: Tom ... is no longer with us.
JACK: Have you no respect for the dead? Have you no grief?
SAM: Hmm? Have I upset you?
JACK: (laughs) I'm not upset. In truth, it's the tender trifles of your day
that gladden my heart. I'll be planning a very special get-together for just
the two of us. And, Sam ... wear something pretty.
(JACK licks the phone.)
(SAM hangs up.)
CUT TO:
[INT. VCTF - COMMAND CENTER]
NATHAN: Bottom line is he wants a face-to-face.
BAILEY: I'm not putting Sam in harm's way. No rig, no go, and that's not
negotiable.
JOHN: He's gonna know if she's wired. It's just gonna piss him off.
NATHAN: We can go another way. Grace can give Sam an implant just under the
skin. It's a passive crystal. Jack couldn't detect it because it's only live
when we reach out to it with our signal.
(SAM, ANGEL and a pajama-clad CHLOE walk into the Command Center.)
ANGEL: Excuse me. Chloe wants to say good night.
CHLOE: Night.
(NATHAN picks CHLOE up high and puts her on the table. He gives her a hug.)
NATHAN: Oh, good sleep to you, too, my lady.
(GEORGE and GRACE walk into the room.)
GEORGE: We figured out a way to get a look at this son of A ... gun.
SAM: Chloe, time to go to bed, ok?
(SAM reaches out to take CHLOE off the table.)
CHLOE: (to SAM) I want him to take me.
(She points to NATHAN.)
SAM: You do? (She looks at NATHAN who's just a puddle of mush at CHLOE'S
feet.) Ok, well, if you don't mind.
NATHAN: Nah.
(He picks her up and carries her out of the room.)
JOHN: Night.
(GRACE and GEORGE take their seats at the table.)
GRACE: We're thinking of taking an M.R.I. of Jack's face.
JOHN: All right. Then who's gonna be the one to ask him to lie still in the
big, noisy tube?
GEORGE: Nope, see, that's the beauty. We can rig the van with industrial-
strength magnetic imagers, like they have in aerospace. We can zap him from
inside the van.
(Quick flash of: [Scene from 1X06: Modus Operandi] JACK takes off his disguise
– he peels off his fake moustache and removes his fake teeth. End of flash.
Resume to present.)
SAM: So, even if he's wearing a disguise, we can get a picture of his face.
GEORGE: Uh-huh.
BAILEY: I'm not authorizing this meet.
SAM: Did you tell him about the implant?
BAILEY: I know all about skin beepers, Sam. They're still experimental. I
don't trust them.
SAM: This is our chance, Bailey.
(He's still hesitant and doesn't say anything, but she is determined.)
SAM: I'm going with or without your help.
(SAM turns and leaves the room. GRACE and GEORGE also leave the room.)
(BAILEY puts his pen down on the table.)
(JOHN watches BAILEY.)
[INT. VCTF - SAM'S OFFICE - CONTINUOUS]
(CHLOE is asleep on the cot. SAM watches her sleep. ANGEL steps up next to SAM
watching her.)
ANGEL: So ...
(SAM shakes her head.)
SAM: Nothing, I just -
(ANGEL stares at SAM waiting for her to talk.)
SAM: Look, Angel, I have to, uh, I have to do something tomorrow and, uh, if
...
(ANGEL steps forward.)
ANGEL: You don't have to say it. I already love her like my own.
SAM: Thanks.
ANGEL: Okay.
(ANGEL hugs SAM.)
[INT. VCTF - LAB]
(GRACE turns on the lamp and adjusts the overhead lighting. SAM is lying on the
exam table waiting to be fitted with the homing device.)
SAM: Aren't you gonna tell me this isn't gonna hurt?
GRACE: Well, I wouldn't exactly say that, but my patients rarely complain.
(SAM smiles and lets GRACE prepare the injection. BAILEY steps up to the
table.)
BAILEY: John will be the wing man, van will never be more than two minutes
behind you.
GEORGE: Allowing time for me to triangulate his location, fire up my machine,
and take this actual picture. I figure I'm gonna need a good minute, maybe two.
BAILEY: You know what he can do to you in two minutes.
(Yes, she does.)
SAM: Let's just do this.
(SAM pushes her hair away from her neck and turns away for GRACE.)
CUT TO:
[COMMAND CENTER]
(BAILEY picks up the cell phone and checks it. GEORGE sits in front of his lap
top and SAM also waits at the table. BAILEY puts the cell phone down on the
table.)
(The cell phone rings. GEORGE sits up and adjusts his headset. SAM stares at
the ringing phone. GEORGE motions for SAM to pick up the phone.)
(She answers the phone.)
SAM: Hello, Jack. You're late.
JACK: She's eager today. There's a pay phone where Betty Lane intercepts route
107. I'll see you in fifty-two minutes. Six rings is all you get. You better
get going.
(He hangs up. She hangs up.)
BAILEY: Let's go.
(They move.)
[EXT. ROAD TO BETTY LANE & ROUTE 107 - DAY]
(SAM parks her SUV in front of the market. The phone is already ringing. She
gets out of the car and answer the phone.)
SAM: Hello?
JACK: Find the church, Samantha.
(He hangs up.)
(She hangs up and looks around. She picks up the telephone book and starts
flipping through it. She finds a red envelope tucked in between the pages.)
(In the red envelope, she finds a car key, a photo of a car and a map.)
(She moves away and in the background, we see JOHN standing at the top of the
hill next to his car watching over her. He gets into his car.)
[EXT. CITY STREET - DAY]
(SAM pulls up along side the curb. She parks and gets out. She checks the map
and walks into the building.)
(JOHN pulls up behind SAM'S car and parks.)
[EXT. ALLEYWAY - DAY -- CONTINUOUS]
(SAM walks through the alleyway and checks out the car parked there.)
[EXT. CITY STREET - DAY - CONTINUOUS]
(JOHN gets out of his car and heads into the building to follow SAM.)
[EXT. ALLEYWAY - CAR (PARKED) - DAY - CONTINUOUS]
(SAM slips into the car behind the driver's wheel. In the passenger seat she
picks up the bible. In the bible, there's a cassette tape. She slips it into
the car's player.)
JACK: (on tape) The phone booth on the corner of Logan and Cathedral Avenue.
You have seven minutes.
(SAM starts the car and backs up.)
(She drives out of the alleyway.)
(JOHN walks out of the building into the alleyway just in time to see SAM drive
away. He takes out the walkie-talkie.)
JOHN: Bailey ... Jack made her take another car. I can't follow her.
(JOHN turns and heads back into the building.)
[EXT. TONY'S BURGER - DAY - CONTINUOUS]
(SAM parks on the curb, gets out of the car and heads for the phone booth.
Thunder rumbles.)
(There's someone on the phone.)
SAM: Hey. Let me have the phone. I need to use the phone, ok? Thanks.
(The MAN hangs up and walks away.)
(The phone rings.)
SAM: Yeah?
INTERCUT WITH:
[JACK'S ROOM]
JACK: Testy. (laughs) Careful, or your path will narrow. As it is, your
growth has already been stunted. But another lesson should get you back on
track very fast.
SAM: (roughly) Yeah, well, where exactly is this track?
JACK: 1742 Cathedral Avenue. Another walk, Samantha.
(She hangs up.)
(She looks around, then sees it. She walks across the street away from Tony's
Burger and heads for the building.)
(SAM walks into the building.)
[INT. 1742 CATHEDRAL AVENUE -- BUILDING - DAY - CONTINUOUS]
(SAM takes out a flashlight and looks around. The building appears to be
abandoned. Inside is very dark considering that it's still day.)
(SAM walks down the stairs onto the catwalk. She walks across the catwalk
looking down at the darkness below.)
(She walks down the stairs onto the ground. It's a large building. SAM looks
around the area. When she reaches a certain point, the lights above her turn on
shining down on her like a spotlight.)
JACK: (heavy exhale) S-s-samantha.
(SAM has quick flashes of previous dead bodies:
* [from 1X09: Sorcerer's Apprentice] Body of *** with BAILEY'S FBI ID
pinned to her body.
* Body of Dead woman with her eyes open.
* Body of Dead person face down on the front walk.
* [from 1X06: Modus Operandi] SAM in the corridor under the airport
holding the gun out in front of her searching for JACK.
* Various flashes of JACK holding a knife.)
(End of flashes. Resume to SAM.)
SAM: We've been here before, Jack.
JACK: Your wisdom is getting you nowhere.
(Upon the second floor catwalk, SAM sees the silhouette of JACK behind the
glass. An unidentifiable figure at best.)
JACK: Rely on mine, and I will teach you humility. Forgetting thyself will set
you free to remember ... me.
SAM: Remember you? There's no room in my life for you.
JACK: Because of your new heartthrob? (breath) Throb.
(He chuckles.)
JACK: I'm afraid that little piggy's going to market.
[EXT. ALLEYWAY - DAY]
(The van slowly rolls into the alley.)
[INT. VAN (MOVING) - DAY]
(Inside, GEORGE, BAILEY and NATHAN try to get a fix on SAM.)
BAILEY: We've got a fix on her transponder. She's fifty yards to the west. So
is Jack.
GEORGE: Imaging now. I need thirty-one seconds.
BAILEY: John, he's up high, balcony or loft. After you've got every window and
exit covered, we'll rush in, hit it like desert storm.
(The SWAT police van turns the corner around the building, the police lights
flashing.)
(The van stops. JOHN and the other officers pour out of the van.)
VARIOUS OFFICER: Move.
VARIOUS OFFICER: Move, move.
(Armed OFFICERS jump out of the van and surround the building.)
VARIOUS OFFICER: Let's go.
VARIOUS OFFICER: Right.
(JOHN jumps up onto the platform and motions high to the officers.)
JOHN: Fan out. Out here.
VARIOUS OFFICER: Let's go.
VARIOUS OFFICER: We're ready.
[INT. BUILDING - CONTINUOUS]
(Inside the building, JACK and SAM continue to talk.)
JACK: Now ... fall ... on your knees.
SAM: (forcefully) I will NOT get on my knees for you. I will NEVER get on my
knees for you!
(JACK jumps up onto the rail bars, his silhouette large and looming above her.)
JACK: I am The Way. I am The Truth. I am The Life.
SAM: Poor, hungry little boy, always going to bed without his supper. Must be
hard not knowing what you want anymore.
(Outside, the police officers get into position, each blocking a window or a
doorway. JOHN positions himself outside the exit. He unholsters his gun and
cocks it.)
JOHN: Set.
(Inside, JACK knows. He jumps down from the railing.))
JACK: Let's resume this later. It's almost time for your friends to get here.
(He pulls the large lever at his feet. The lights right above SAM'S head
releases from the ceiling and falls straight down at her. She puts her arms up
to protect herself. The lights fall crashing to the ground beneath -- the glass
shattering on the floor casting the entire building in darkness.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. BUILDING -- DAY]
(JOHN and the other officers search the building, looking for JACK.)
JOHN: He vanished!
(Inside, BAILEY talks with SAM. NATHAN is nearby.)
BAILEY: Missed grabbing him by ten lousy seconds. The whole place was rigged.
NATHAN: He cut a false bottom in a dumpster and went through an access plate to
the next building.
SAM: He told me to come alone. He was giving me a chance.
NATHAN: A chance for what, to get killed?
SAM: Maybe, or maybe he just wants to keep playing.
BAILEY: The point being?
(She shakes her head.)
SAM: He's made himself a god. He wants to control everything, especially me.
JOHN: So now, you failed his test, what's he gonna do?
SAM: He'll do what any god would do. He'll punish me, give me another chance.
CUT TO:
[INT. VCTF - COMMAND CENTER]
(Open on the monitor with the 3-D image of JACK taken from his meeting with SAM.
It's a basic human figure, no definition at all. Camera pulls back and we see a
3-D clay composite of what JACK looks like. Incomplete, but more than what they
had before.)
GEORGE: What about this, huh? Won't be perfect, though, 'cause we only got
about nine-tenths of a complete M.R.I. You see his left jawline never got
imaged.
(Camera pulls back further and we see that ANGEL is making the clay composite.)
ANGEL: And don't forget, when you're going from a two-dimensional plane to
three-dimensional rendering, you lose something in the translation.
(She puts the finishing touches on it and steps back toward SAM and BAILEY.)
ANGEL: It's about the best I can do. I can't be sure if it's right.
BAILEY: Maybe it's time to check with someone who can tell us.
(SAM looks up.)
SAM: We've been over this, Bailey.
(BAILEY gently leads SAM out of the room to talk with her.)
SAM: We don't know what Chloe saw.
BAILEY: That's my point. There are ways to find out so it wouldn't be
traumatic, Sam. We've got experts.
SAM: (hard) I'm an expert. I'm her mother. And I say no.
BAILEY: These people are all here for you, Sam, and I don't mean just because
they're locked up in here. They're putting themselves on the line. What Chloe
knows might make the difference.
SAM: What Chloe knows might scar her for the rest of her life. And don't you
daresay, "So might Jack." I know how bad this is for her. Believe me, I know.
BAILEY: And I know you'd do anything you can to undo it, but you can't. Now
you can stop it. Find out what she saw, for Chloe's sake, if nothing else.
(BAILEY turns and walks back into the Command Center leaving SAM with that
thought.)
[INT. VCTF - SAM'S OFFICE -- NIGHT]
(SAM and CHLOE sit on the couch and talk. CHLOE holds her black and white panda
on her lap.)
CHLOE: Pancake misses his mommy.
SAM: I thought you were his mommy.
CHLOE: I'm his adopted mommy. His real mommy was killed by hunters in China,
until you rescued him from the store.
SAM: Well, what about his daddy?
CHLOE: The bad man took him away to sell to the zoo ... (sighs) ... but he died
on the way of a broken heart.
SAM: Well, that's a very sad story, Chloe.
CHLOE: I told him his daddy would always be with him in his heart, like you
told me.
SAM: We all tried really hard not to think too much about bad things that have
happened, but sometimes, when we try too hard, they can become a secret, even to
us. Do you know what I mean?
SAM: Chloe, do you remember the night that daddy was taken away from us?
(Quick flashes of:
* Outside view of SAM and TOM having dinner at a restaurant.
* SAM runs into the room past the OFFICERS and finds TOM dead.
* SAM clutches TOM to her as she cries.)
(End of flashback. Resume to present.)
(CHLOE nods.)
SAM: D-do you remember that ... you had a bad dream about that night, about a
man coming into the house?
(Quick flashback to: [INT. HOUSE] CHLOE backs away from the door. Close up of
JACK with his finger against his lips in a "shhh" motion. End of flashback.
Resume to present.)
(CHLOE nods.)
(SAM takes out the picture from her bag. She unfolds it and shows it to CHLOE.)
SAM: You ... you drew me this picture. Do you remember?
(CHLOE nods.)
SAM: Now ... I know that that was just a dream, but ... Chloe, was there really
a man in the house that night?
(CHLOE shuts her eyes and thinks.)
CHLOE: He leaned down real close to me and put his finger on his lip like this
and went "shh." And then I closed my eyes, and he was gone.
(SAM points to the clay bust at the far corner of the room.)
SAM: Chloe, did he look like that man right there?
(CHLOE looks at the bust.)
CHLOE: No.
SAM: No?
CHLOE: He had a beard and mustache, and he was old.
(SAM gets up and picks up the composite sketch, the one of the man Coop
described in 1X06: Modus Operandi. She shows it to CHLOE.)
SAM: Did he look like that, Chlo?
CHLOE: Yeah, he looked like that.
SAM: (nods) Ok.
(SAM puts the composite aside and gives CHLOE a hug.)
SAM: Ok. Ok.
CUT TO:
[INT. VCTF - BAILEY'S OFFICE - NIGHT]
(SAM reports back to BAILEY and the rest of the team. She shows him the
composite drawing.)
SAM: The night Jack killed Tom, he was wearing this disguise -- the same
disguise he had on when we chased him around the train station.
BAILEY: That's all she saw?
(SAM nods.)
BAILEY: Thank god. Ok, let's move on.
(JOHN steps forward.)
JOHN: We need a new game plan.
SAM: Meaning?
JOHN: We need to think of something else besides using you as bait.
GRACE: Why? I thought that was working.
SAM: Maybe too well.
(Quick flashback to: [INT. THE BUILDING - DAY] JACK stands on the railing, his
hands flat against the glass wall. The lights above SAM come crashing down to
the ground, the glass shattering. End of flashback. Resume to present.)
SAM: He may have the murderous intellect of an adult, but he's really a two-
year-old.
BAILEY: Brakes are off. Watch out.
GRACE: I gotta test it out.
BAILEY: Well, it was risky enough before. At least we could hope he didn't
want to kill us outright. Now, who knows?
SAM: Well, if I'm not gonna be the lure, then who is?
JOHN: Well ... I think--I think I'm next at bat. It's just an escalation of
what we already started. I mean, he already hates me.
SAM: Because of me.
GRACE: But he can't control your emotions, and he hates that even worse.
BAILEY: Ok.
(BAILEY gets to his feet and looks at JOHN.)
BAILEY: This is our best option, and we all agree we need to come up with a
plan, and I'm not gonna sign off until every detail is worked out.
JOHN: I should hope to hell not. Don't worry. It'll be brilliant.
(JOHN walks away from them.)
BAILEY: Just make it safe.
(BAILEY walks away leaving SAM standing there.)
CUT TO:
[INT. JOHN'S CABIN - DAY]
(The front door opens. The telephone is ringing. JOHN walks into the cabin
with his arms full of logs.)
ANSWERING MACHINE: This is John. I'm not here. Leave a message. I'll get it.
Thanks.
(beep)
TRAVIS: Hey, Johnny. Pick it up. All right, have it your way.
INTERCUT WITH:
[INT. VCTF - COMMAND CENTER]
TRAVIS: Uh, this is Travis. Look, um, you've been squeezing me for word on
this Jack guy. I got something choice if you want it.
[JACK'S PLACE]
(JACK listens to the conversation while testing out his latest gizmo. We note
the red dot in the shadows from a laser.)
TRAVIS: I'll, uh, I'll come out to your weekend place, say about 8:00. I'll
see you then.
(Back at the cabin, JOHN ends the message. He puts the logs down.)
CUT TO:
[LATER]
(JOHN sits on the couch reading the paper. He hears a car pass outside. He
puts the paper down and stands up to check the window. Outside, he sees a
flashlight moving across the lawn.)
(JOHN puts his jacket on and steps out onto the porch. He picks up a huge
flashlight and turns it on. He starts down the stairs.)
JOHN: Travis, come in the house!
(JOHN reaches the ground and continues to walk out into the darkness.)
JOHN: Travis.
CUT TO:
[EXT./INT. VCTF VAN - NIGHT]
(BAILEY slips into the van. GEORGE is on the laptop while BAILEY and SAM sit on
the side.)
(GEORGE monitor's JOHN'S movement outside the house.)
GEORGE: John just left the house.
[OUTSIDE]
(JOHN has his flashlight and gun pointed at the light in front of him. He hears
a rustling behind him and swings around. He sees another light behind him. He
swings back in front of him and finds light sources on both sides of him.)
(He continues to swing from front to back where there are two sets of light
sources, one on each side of him.)
(JOHN swallows.)
(He gets close enough to see the cages hanging from lines hooked up between the
trees moving between them like cable cars. The flashlights hang from the moving
cages.)
(JOHN takes a couple of steps forward toward the lights.)
(Behind him, he hears the gun power up.)
(He turns around.)
(JACK fires.)
(JOHN is hit in the neck. His hand automatically goes up to the spot on his
neck. His gun fires wildly as he falls.)
[INT. VCTF VAN (PARKED) - NIGHT - CONTINUOUS]
(GEORGE turns around to check the other computer console.)
GEORGE: Gunfire from the cabin. I'm amplifying from my remote mikes.
SAM: Where is John?
(GEORGE turns back to the main computer. The red dot on the screen is gone.)
SAM: George, where is he?
GEORGE: He dropped off the screen, out of range. We need a fix from the cabin.
(GEORGE removes his head gear. BAILEY is already heading out of the van.
GEORGE follows.)
BAILEY: (to radio) All units, move out. Come on, Sam. Let's go.
[OUTSIDE]
(JOHN is being dragged along the dirt road.)
[ROADWAY TO CABIN]
(POLICE cars drive up the road, their lights flashing and sirens blaring. They
park and BAILEY gets out of the car, his gun in his hand. He runs to the house.
The other officers, GEORGE and SAM follow.)
AGENT: Move!
AGENT: Move it!
(BAILEY opens the front door and enters the cabin. GEORGE and SAM walk into the
cabin. GEORGE has his hand-held device in his hand and it's beeping as it picks
up the wire in JOHN.)
GEORGE: It's moving west, probably route 10.
BAILEY: That's still the crystal we're listening to.
SAM: We won't know if he's alive until we find him.
FADE OUT.
FADE IN.
[INT. -- NIGHT]
(Strong lamps are turned on, their light shines directly in JOHN'S face. "JACK"
slaps JOHN awake. JOHN'S vision is blurry. "JACK" adjusts one of the strong
lamps to shine in JOHN'S eyes.)
"JACK": Ah, looks like you don't get the girl after all, huh?
("JACK" puts the lamp aside and this is the first that we get to see his face.
JOHN looks at "JACK".)
JOHN: So you're Jack. I don't suppose there's any way I can talk you out of
this, huh? Had to ask. So how long have I been out?
"JACK": I don't know.
JOHN: Anything good on the radio?
"JACK": Not really. You can drop the fearless act. It's just the two of us.
It's not believable anyway.
(He grabs JOHN from around the throat and holds the knife point in front of
him.)
"JACK": Everybody has a worst fear, and you know it. Now, what's yours, huh?
(He moves the knife.) Your lips or eyes? Or, uh ... throat?
(The phone rings. "JACK" moves to answer it.)
"JACK": Excuse me.
JOHN: It's our first date, ok? I don't want to turn you on too much here. I
don't wanna get you too excited.
"JACK": Yeah. Yeah. It did. No. No problems whatsoever. ("JACK" chuckles.)
Yeah. No. No R.F., no transmissions. Strip search. No. No bugs, no wires, no
nothing. He's very smug, yeah, but probably not for long.
JOHN: (interrupts) So you guys got a support group now, huh?
("JACK" hangs up.)
JOHN: (continues) Lunatics anonymous? Ya-aah. You feel normal for a few
minutes, so you call up one of your buddies who's just as screwed up as you are,
and he talks you out of your head again?
("JACK" holds out a camera in front of JOHN'S face and flashes him in the eyes.
JOHN pulls back.)
JOHN: You're taking photos. Great, ok.
("JACK" smiles at JOHN.)
JOHN: This is my better side. Hey, get this one. How--how many shots on the
roll?
"JACK": Twenty-four. Well, there are twenty-three left. We're gonna have to
use them all.
JOHN: Oh. We? Who's we?
("JACK" turns around holding the gun in his hand and walks intently toward JOHN.
JOHN'S eyes widen as this has suddenly become very dangerous.)
(Suddenly, the entire wall lined with lockers falls crashing to the floor.
"JACK" turns around and finds himself face to face with a line of police
officers. He fires the gun at them. They fire back. JOHN leans way back in
his chair to keep himself out of their line of fire. "JACK" falls down to the
ground dead.)
(BAILEY and NATHAN step over the lockers and enter the room first. NATHAN
checks "JACK" out while BAILEY picks up the knife from the floor.)
JOHN: It's about time you guys arrived. You wanna untie me, here, huh?
(BAILEY unties JOHN.)
BAILEY: Thank god you're ok. Here. You know how to use a knife.
JOHN: Oh, thanks.
BAILEY: Sam, it's all clear.
(SAM climbs over the lockers and heads for JOHN. He stands up.)
SAM: Hey, you ok? Did he hurt you?
JOHN: No. Only when he didn't laugh at my jokes.
(He looks over at BAILEY and NATHAN who kneel next to "JACK".)
JOHN: It was worth it. We got him.
(He puts his arm around SAM and kisses her temple.)
(BAILEY opens the computer graphic composite of the man in the factory. SAM
watches him.)
BAILEY: It's a match.
(SAM turns her entire focus on "JACK".)
(Quick flashes of: The clay bust. The sketch composite. The computer graphic
composite of the man in the factory. The man standing on the catwalk behind the
glass. End of flashes. Resume to present.)
JOHN: Tell you what ... he fancies himself as a bit of a photographer.
(JOHN holds up the camera.)
BAILEY: Just get that to the lab.
(NATHAN smiles at JOHN.)
NATHAN: You ok?
JOHN: Yeah.
(NATHAN gives JOHN a hug.)
NATHAN: Heh. Come here. That gizmo Grace put in your head -- it worked. We
were on you all the way.
(SAM looks around the locker room.)
JOHN: He's got a scanner. He was looking for a wire, too. So was his partner.
SAM: Partner?
JOHN: Yeah. Somebody called. They were talking recipes. They were -- he was
telling him the best way to slice and dice me.
(SAM has flashes of JACK'S other kills. End of flashes. Resume to present.)
SAM: No, no, no, no. Jack doesn't have a partner. No, he does all his killing
alone.
JOHN: (points to the body) Well, take a look at the face. It's a match.
(BAILEY listens to SAM as she talks.)
SAM: Well, then it wasn't Jack in the factory. I mean, he--he relishes his
preparation, the--the game, the anticipation. This guy ... Jack kills to own
his victims. He would have souvenirs or ...
BAILEY: ... keep it out in the open, so he could appreciate and touch them.
SAM: This isn't Jack.
(JOHN rolls his eyes and turns away.)
(SAM stares at the body on the floor.)
CUT TO:
[EXT. VCTF BUILDING - DAY]
[INT. VCTF - COMMAND CENTER - DAY]
(The team is meeting.)
GRACE: I did the blood work. We know that Jack is type O-Negative from the
note that he left you with his own blood during the Kevin Moncarson case, but
the guy who abducted John is, uh, type "B."
(On the monitor is the note.)
BAILEY: Lab just processed the film from the dead man's camera. One photo
taken.
(GEORGE puts the photo of JOHN on the monitor.)
JOHN: Uh ...
(GRACE chuckles.)
JOHN: You can burn that one, thanks.
BAILEY: That's better than your I.D. photo.
(JOHN smiles.)
BAILEY: Ok, we ran the abductor's prints through C.I.C. His name is Andre
Kostos, suspect in a bunch of open cases.
(On the monitor, ANDRE KOSTOS' prison photo and record appear.)
BAILEY: He's a mechanic for hire.
SAM: Did you trace the phone call Kostos got?
GEORGE: Yes, I did. It's a pay phone. Local, southwest side, college park.
Take a look.
(GEORGE puts a surveillance camera photo on the monitor.)
GEORGE: The man on the left is Kostos. We found this print taped on the bottom
of a dresser drawer. Now, I enhanced the license plate.
(The license plate, Georgia # TRI 864, enlarges on screen.)
GEORGE: It's registered to a St. Angeles. That's an orphanage ...
JOHN: In college park.
BAILEY: Let's move.
(Everyone gets up.)
CUT TO:
[EXT. ST. ANGELES (ORPHANAGE) - DAY]
(Establish.)
[DRIVEWAY]
(BAILEY, SAM and JOHN check out the station wagon. BAILEY checks it against the
photos in his hands.)
BAILEY: This is the car.
(They head up through the driveway.)
JOHN: So, assuming it was Kostos, he's what, a partner?
SAM: More like an employee. It's probably the first time Jack hired him.
JOHN: A cut out. Keep him removed, just in case.
SAM: Yeah. Kostos kept records, though. He was very careful. I wonder who
took the picture.
BAILEY: Kostos could have taken it himself, automatic camera, evidence of a
payoff. Professional shooters do that all the time, just in case the people
paying for the hit have second thoughts. Let's take a look inside. (to radio)
Conceal the react teams and stay off the air.
(BAILEY, SAM and JOHN head into the orphanage.)
SISTER AGNES: (v.o.) Yes, that is our station wagon.
CUT TO:
[INT. ORPHANAGE - STAIRS - DAY]
(SISTER AGNES shows them up the stairs.)
BAILEY: Can you get us a list of your employees and their home addresses?
SISTER AGNES: Yes, I think that could be arranged. There are ten residential
units here. The rest are in south hall. I'll have someone show you there when
you're done. These keys will open any room.
(SISTER AGNES hands the key ring to BAILEY.)
BAILEY: Thank you, sister.
(BAILEY takes the keys and walks past SISTER AGNES and on to the residential
units.)
SAM: Thank you.
SISTER AGNES: I'll leave you to it, then.
(SAM and JOHN walk past her. SISTER AGNES turns and walks back down the
stairs.)
[SANCTUARY]
(SISTER AGNES calls out to the janitor mopping the sanctuary floor.)
SISTER AGNES: Mr. Carruthers, there are some people here from the F.B.I.
They're in the west apartments now. Would you show them to south hall when
they're done?
CARRUTHERS: Y-yes, s-sister.
SISTER AGNES: (smiling) Thank you.
CARRUTHERS: (quietly) Yes, sister.
(MR. CARRUTHERS drops his mop and walks out of the sanctuary.)
[RESIDENTIAL UNIT]
(BAILEY uses the key and opens the door. SAM and JOHN follow him inside the
room.)
OFF SAM: She looks around the room, her eyes wide. Behind her we see BAILEY
take out and cock his gun.
(On the far end of the room, there is a small white board with photos tacked on
it.)
(Quick flash to: A latex gloved hand tacks a photo cut-out of NATHAN on the
board. It's part of the multiple photos taken of NATHAN in his garage with his
car. End of flashback. Resume to present.)
(On the worktable are the supplies.)
(Quick flashes of: The newspaper with rose petals. The Polaroid camera and
flash. JACK piecing together an ID for himself. JACK waving the ID to dry it.
End of flashes. Resume to present.)
(On the other side of the room are more photo equipment and development things.)
(Quick flashes of: SAM'S photo under a magnifying glass. Twisted wire. Pieces
of the newspaper message put together with the message, "I MISS YOU SAM". End
of flashback. Resume to present.)
SAM: This is it.
(BAILEY takes out his gun and steps in front of SAM. JOHN also steps in front
of SAM, cocking his gun. The two men check the room out.)
(BAILEY picks up a wallet on the table.)
BAILEY: He left his wallet and keys.
(JOHN holds a uniform.)
JOHN: Carruthers.
(SAM looks around the room and sees a photo hanging on the wall. It was a
family photo, but now there's only SAM and CHLOE in the photo. TOM has been cut
out of the picture. A bubble has SAMANTHA saying, "Bye Tommy boy". A hand
drawn headstone with R.I.P. is tacked next to the cut out space. There are red
splotches all over the photo.)
(Camera zooms into the photo and we see that the cut out of TOM is on the bottom
of the photo lying flat.)
[INT. ORPHANAGE - BASEMENT -- DAY]
(CARRUTHERS runs through the basement. He knocks over something in his haste.
He turns the valve.)
[INT CARRUTHERS' ROOM]
(Something happens inside the room.)
[BASEMENT]
(CARRUTHERS continues to frantically turn the valve. Steam blows from the
tank.)
JACK (AS CARRUTHERS): Good-bye, Samantha.
(He pulls the over head piping. He turns and runs.)
[CARRUTHERS' ROOM]
(The door behind SAM slams shut.)
BAILEY: (to radio) All units, Jack is in the vicinity. Close up the
neighborhood.
(Inside the room, acid leaks through the crevices in the ceiling and slimes down
the walls. As SAM watches, the liquid goo destroys everything in its path.)
BAILEY: It's acid. (shouts) It's acid!
(JOHN and SAM step away from the walls.)
(BAILEY and JOHN try the barred windows. They won't budge. SAM continues to
watch the acid slide down the walls. BAILEY struggles with the room door.)
BAILEY: All units, code 7 on the second floor!
JOHN: Window is jammed!
(SAM looks around the room. She starts coughing.)
BAILEY: Damn it!
(JOHN and BAILEY both pick up something to batter-ram the door and windows.)
JOHN: I got it.
(They start pounding on the frames to get out.)
SAM: Bailey. Bailey, the wall. The wall. They plastered over an old door.
(BAILEY and JOHN both abandon the door and window to puncture through the wall.
Desperately, they pound a hole through the old wooden wall. SAM grabs a frame
off of the wall. She tucks it under her arm just as they break through the
wall.)
(BAILEY tosses a chair through the hole to make it large enough for them to get
through.)
BAILEY: Sam!
(He reaches for her and helps her through the hole in the wall. They all slip
through to safety in the next room.)
(Sirens are heard in the distance. The acid continues to destroy everything in
the room.)
CUT TO:
[INT. VCTF - SAM'S OFFICE]
(CHLOE pulls the blinds up. She skips back to the couch where DENZEL lies
resting.)
CHLOE: Come on, Denzel. Don't you want to go home? Come on, boy.
(She takes his leash and leads him out of the office.)
DENZEL: Woof!
CHLOE: Hurry up, Denzel.
[EXT. VCTF BUILDING - FRONT - DAY]
(CHLOE walks out of the building holding on to DENZEL'S leash as he walks beside
her. She skips over to the car where GRACE wraps her in a warm hug.
GRACE: Hi, sweetie. It was good to see you.
CHLOE: Bye, Aunt Grace.
GRACE: See you, Denzel.
DENZEL: Woof!
(MORGAN closes the station wagon back door and turns to give CHLOE a hug.)
MORGAN: Bye. See you soon, sweetie.
(He heads for the car. CHLOE continues on to ANGEL who shuts the door to her
car.)
ANGEL: Come on everybody, we're going home.
GRACE: I'll see you at home when I get back.
(SAM smiles at CHLOE.)
SAM: Hello, missy.
ANGEL: Finally going home. It feels good.
SAM: I know. And get to relax?
CHLOE: Bye, mom.
SAM: Get our lives back in gear?
(RICH pulls up his car and stops. He waves to MORGAN.)
RICH WARREN: See ya.
MORGAN: Take care, Rich.
RICH WARREN: Yeah.
(RICH gets out of the car and picks CHLOE up giving her a warm hug.)
RICH WARREN: Hey, come here, you.
CHLOE: Bye, Rich.
(RICH turns to get in his car.)
RICH WARREN: Bye, Sam. See you.
(SAM turns CHLOE and leads her to their own car.)
SAM: All right. In, in, in. Everybody in.
(SAM gets CHLOE into the passenger seat of ANGEL'S car.)
SAM: All right. Give me a kiss.
(She leans in through the window to give CHLOE a kiss goodbye. She straightens
and takes a step back.)
SAM: All right, I'll see you for dinner, ok?
CHLOE: Bye, mommy.
SAM: I love you.
CHLOE: I love you, too.
(ANGEL drives off leaving SAM behind watching them go. SAM heads back into the
building.)
CUT TO:
[INT. VCTF - COMMAND CENTER - DAY]
(On the television monitor, channel 6, "LIVE" footage of the team at the factory
on Cathedral Avenue is aired showing the police surrounding the building.)
TV REPORTER: ... Conducting a major manhunt ...
GRACE: Look, there we are. We got the whole city involved, huh?
(The entire team is watching the coverage on the television. SAM walks into the
room and stands next to GRACE.)
GRACE: Hi, Sam.
SAM: Hey.
GRACE: Every network, news channel, wire service, everybody in the country
wants to see it when we finally put Jack in a bag, huh?
(SAM smiles.)
(GEORGE changes the view on the monitor to an acid-eaten diploma of sorts.)
NATHAN: Hey, what's this?
(View changes to various parts of the diploma.)
SAM: It's Jack's medical degree, or what's left of it.
JOHN: You sure it's his degree?
SAM: Well, it was in a frame, and it was the only thing in the room that hadn't
been cut up or changed.
BAILEY: Jack needs to mark everything he touches, but he didn't touch this.
SAM: He's not a ghost anymore. He's a doctor who got his degree in 1970-
something. And, for the first time, he's running from us.
(Camera holds on SAM.)
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
1X13: THE HOUSE THAT JACK BUILT
ORIGINAL AIR DATE ON NBC: 02/08/1997
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
CRAIG WASSON
NORMAN SNOW as Morgan Alvarez
KEITH COULOURIS
Co-Producer: JOHN FORREST NISS
Produced by: ANTHONY SANTA CROCE
Supervising Producer: CYNTHIA SAUNDERS
Supervising Producer: GEORGE GEIGER
Creative Consultant: KEN SOLARZ
Executive Producer: LAWRENCE HERTZOG
Written by: LAWRENCE HERTZOG
Directed by: CARL SCHENKEL
==========================
END CREDITS
==========================
Sanders/Moses Productions
NBC Studios
NBC Enterprises
Also Starring
PATRICIA FRASER as Sister Agnes
TRICIA DONG as Sara Jeffries
Story Editor: JEAN GENNIS
Story Editor: PHYLLIS MURPHY
Casting: ANTHONY BARNAO
Director of Photography: MICHAEL BONVILLAIN
Production Designer: JONATHAN CARLSON
Edited by: BERT GLATSTEIN, A.C.E.
Main Title Theme: ANGELO BADALAMENTI
Music by: JEFF RONA
Unit Production Manager: ANTHONY SANTA CROCO
First Assistant Director: BRUCE CARTER
Second Assistant Director: JEFF KAY
Costume Designer: TOM McKINLEY
Production Supervisor: 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: JOHN SPRAGUE
Key Grip: RONN COONEY
Construction Coordinator: ANDREW MOORE
Transportation Coordinator: STEVE ZERWECK
Stunt Coordinators: BUCK McDANCER
Stunt Coordinators: ERNIE ORSATTI
Special Effects Coordinator: LARRY FIORITO
Art Director: JEREMY A. CASSELLS
Art Department Coordinator: JANIENE KURI
Costume Supervisor: SUSANNA T. SANDKE
Set Decorator: RICHARD REAMS
Property Master: BLANCHE SINDELAR
Make-up Artist: ALLAN A. APONE
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
Post Production Supervisor: LYNN STEVENSON
Assistant Editor: MONICA GILLETTE
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: 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:03/24/2004~lky
http://www.webphilia.com/~anthology/wnp.html