PROFILER 1X14: SHADOW OF ANGELS (1) (A.K.A. NOBLESSE OBLIGE) ORIGINAL AIR DATE ON NBC: 02/15/1997 TRANSCRIBED FROM DVD Written by: SIBYL GARDNER Directed by: JOHN PATTERSON Transcript by Intrepid Courtesy of http://www.webphilia.com/~anthology/wnp.html Please do not archive this transcript without permission from the Transcriptionist. ========================== DISCLAIMER: ========================== "PROFILER" and other related entities are owned, (TM) and (c) by Sanders/Moses Productions, NBC Studios, NBC Enterprises, and A&E TV, All Rights Reserved. This transcript was made without their permission, approval, authorization or endorsement. For Fair Use, For Educational and For Entertainment Purposes Only. Any reproduction, duplication or distribution of this material in any form is expressly prohibited. It is absolutely forbidden to use it for commercial gain. CONDITION OF USE: (1) Do not alter the content of this file. (2) Leave the headers/disclaimers 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 investigates a series of murders all related to silver coins whose only connection is to one of the most powerful and politically influential families in the Nation. Coop joins the investigation from a terrorism angle and tries to pick up his relationship with Sam. On the Jack front, the team connects the acid-eaten diploma to another serial killer, Dr. Austin Keller, who supposedly killed himself years earlier. They prove Keller is still alive and track him down to a compound in Costa Rica. ========================== PROFILER 1X14: SHADOW OF ANGELS (1) (A.K.A. NOBLESSE OBLIGE) ========================== FADE IN. (Open on the full moon.) [EXT. CORRAL - EVENING/NIGHT] (Horses run around in the corral. One horse in particular bucks and neighs loudly.) (Camera moves to show the main house in the background.) (Cut to: Close up of the horse's hooves scratching the ground.) (Cut to: The inside of the stables.) CUT TO: [VARIOUS FADE INS OF SCENES] * A grassy hill, green grass, trees. It's a lovely day, sunny and warm. Four children of varying ages are dressed all in white. They laughingly skip over the grassy hill. * Overlay: In a dark corridor, camera focuses on the legs of four people dressed in black walking through the hallway. * The children in white play on the grass. * Overlay: The people in black walk through the hallway. [SERGEI MARDIGIAN] (Camera moves in close toward SERGEI MARDIGIAN. He jerks back as if hit across the face.) [STABLES] (The wheel of a wheelbarrow filled with white burlap bags filled with something. Someone pushes the wheelbarrow through the stables.) [CHILDREN] (The four children in white kick the ball to each other.) [SERGEI MARDIGIAN] (Someone drops a heavy bag filled with coins on SERGEI MARDIGIAN'S chest. He gasps as the weight falls on him.) (Various cuts from SERGEI MARDIGIAN to the children playing ball in the field.) (With every added bag, SERGEI MARDIGIAN cries out in pain. This sound is interspersed with the children's laughter as they continue to play in the field.) (From what we can see, there are several people dressed in black standing around SERGEI MARDIGIAN throwing the bags into the wheelbarrow.) (Close up of: SILVER COINS are spilled into the wheelbarrow along with the bags.) (The children play.) (Close up of: Red win being poured in a wine glass.) (Close up of: A child's hands playfully clap together as they play a game.) (Cut to: Four glasses filled with wine in four hands clinking them together in celebration over the dead body.) (Cut to: Two children playing a hand game, their hands clapping with each other.) (Various cuts of the four children in white playing and the four people in black leaving the vicinity.) (Camera lingers on the dead body amidst the scattered silver coins, a stream of blood dries from his cut lip. The camera pulls back and we see that SERGEI MARDIGIAN's wrists are tied securely to a large wooden X.) FADE TO END OF TEASER. ROLL TITLE CREDITS FADE IN. [EXT. ST. ANGELES (ORPHANAGE) - DAY - ESTABLISH] [INT. ST. ANGELES (ORPHANAGE) - DAY] (The team is back in CARRUTHER'S second floor room at the St. Angeles orphanage. SAM walks into the room and looks around, getting a feel for the place. GRACE is at the desk working.) GRACE: I feel like I'm at a wake. SAM: Unfortunately, Jack is still very much alive. (NATHAN and JOHN walk into the room. JOHN holds up a file folder in the air.) NATHAN: All right, we've thrown a dragnet over the city. JOHN: This is what he looked like while he was working at the convent. (He gives the file folder to SAM who looks at the picture sketch inside.) JOHN: Atlanta P.D.'S circulating it, checking all photo I.D. At airports, car rentals, bus stations. You name it. NATHAN: We figured after he doused the room with acid, Jack used the convent's ventilation system, crawled out through a manhole three blocks away. JOHN: We'll get him. It's the closest we got to the troll. GRACE: How far can he get? We've found over nine thousand dollars of his money and we've got his keys. SAM: Doesn't matter. He's probably got an emergency stash of cash and I.D.s someplace. If he gets to it, he's gone. GRACE: Yeah, but this is the piece de resistance. (She holds up the remnants of the acid-eaten diploma.) GRACE: His medical diploma. (Quick flashback to: [Scenes from 1X13: The House that Jack Built] The door closes on SAM in the room. Down in the basement, JACK turns the handle that opens the tank with the acid. The acid pours down the walls of JACK'S room.) (BAILEY and JOHN use the furniture in the room to smash through the wall allowing them to escape. SAM grabs the diploma off of the wall and takes it with her.) (They smash through the wall. BAILEY steps out of the room. Flash on the acid- eaten diploma.) (End of flashback. Resume to present.) GRACE: With this we might actually find out who he really is. NATHAN: We're already after the Savannah College of Medicine for a list of all their graduates from the 1970's. BAILEY: (o.s.) Sam? (SAM turns and sees BAILEY lingering by the doorway. She walks over to him and out into the hallway.) [HALLWAY] BAILEY: I just got a call. We've got to go to Lawrenceburg, Kentucky. SAM: Can't you handle it alone? I'd rather stay. BAILEY: You think I want to leave? I want to get Jack as much as you do, Sam, but this comes straight from Quantico. They want us to assist the Secret Service. We don't go, they shut us down. We'll leave the rest of the team here. They'll call us the second anything happens. We'll be gone four hours, tops. SAM: Okay, right. CUT TO: [EXT. COUNTRY SIDE - GRASSY FIELDS - DAY] LEGEND: LAWRENCEBURG, KENTUCKY [EXT. STABLES - DAY] (Horses gallop in the corral.) [INT. STABLES - DAY] (BAILEY and SAM meet up with DAN RAMIREZ.) DAN RAMIREZ: Dan Ramirez, Secret Service. BAILEY: Bailey Malone, Violent Crimes Task Force. DAN RAMIREZ: It's a pleasure to meet you, sir. BAILEY: Sam Waters, our Profiler. DAN RAMIREZ: We've heard a lot about you. I guess somebody in D.C. figured out my talents end with counterfeiting, called you guys in on this. I'm just as glad. (They walk up to the stall.) AGENT: Step back, guys, FBI. (BAILEY and SAM look into the stall and see the dead body of the man bound to the wooden 'X' and crushed under the weight of the coins on his chest.) (SAM looks a the crime scene noting the knots and rope tied around the victim's shoes.) BAILEY: Who is he? DAN RAMIREZ: Sergei Mardigian. He's the owner. He was having a piano delivered, a baby grand worth over $50,000. His staff was off for the weekend, so the piano movers came out here to look for him. I'm guessing there's ten thousand silver dollars. I was figuring out -- it has to weigh more than a thousand pounds. (Quick flash of: SERGEI MARDIGIAN tied to the 'X' and screaming in pain as the coin bags are dumped on him. End of flash. Resume to present.) SAM: It's an unusually cruel way to die. (SAM stands up and looks at the rest of the scene. In the center of the victim's right palm is a coin.) SAM: Reminds me of pressing, which was a medieval form of torture. Killers wanted to insure that he had emotional as well as physical pain. (BAILEY picks up the open champagne bottle left in the stall.) BAILEY: Looks like they made a hell of a party out of it. This stuff's worth a hundred bucks a pop. (BAILEY looks at SAM. She nods at him.) SAM: Okay. BAILEY: (to DAN RAMIREZ) Need to take a look at the house. DAN RAMIREZ: Yeah, I can take you up there. (He starts for the door, but turns around.) DAN RAMIREZ: Hey, I was glad to see on the news last night you guys finally nailed that sick twist Jack. Congratulations. (He leads them out of the stall.) BAILEY: A little premature for that. All we know for sure is we found where Jack was living. We don't have him yet. (Camera lingers on the victim.) CUT TO: [TRAILER PARK -- NIGHT] (A shadowy figure jumps down from the tree onto the ground. He stops near the building, crouched low. He pauses, the heads for the building.) (Cut to: A flashlight is turned on.) (A person with a nail bar walks up to the lock and jiggles the pad lock. They hold the flashlight in their mouth and pry the pad lock off the door.) (The trailer door opens and the shadowy figure steps into the darkened trailer.) (JACK sets the flashlight down on the table and puts a photo of SAM up on the cabinet door. He caresses the photo with his gloved fingertip.) [EXT. VCTF BUILDING - DAY] [INT. VCTF - COMMAND CENTER - DAY] (GEORGE briefs the team, a picture of SERGEI MARDIGIAN on the monitor.) GEORGE: Sergei Mardigian -- born: 1934, Yerevan, Armenia. Worked for the state department as a translator from '62 till '68. Multilingual. Employed by the Swedish Royal Family for six months in 1973 as a tutor, then fired for being too autocratic. BAILEY: And after '73? GEORGE: Nothing. No taxes filed. I couldn't even find a checking account. He bought that house in '87 for cash. SAM: He also just bought a $50,000 piano for cash. Maybe we could trace the money to a bank. BAILEY: It's probably dirty money. How else would he earn like that? Unless he was a tutor for the Escobar Kids in Colombia. GEORGE: It's certainly brutal enough to be some kind of drug deal gone bad. SAM: It's brutal enough, but it's too sophisticated. I mean, drug dealers don't sit around for a couple of days while their victim dies. BAILEY: Educated, refined, sadistic. They drank ten bottles of his best Bordeaux. GEORGE: How do you know it took a couple of days? SAM: Oh, it's just a guess. Killing by a pressing is intentionally slow, sort of a suffocation by degrees. BAILEY: They even brought their own $10,000 murder weapon and left it. This is about money. He had lots of it. He was killed with it. We need to follow the money. GRACE: I have the ultra-violet picture of the floor around the victim, Sam. (She hands it to GEORGE.) I had it reprocessed in color. (The photo is up on the monitor. In a photo-negative view, the footprints around the body are color-coded.) GRACE: Here we have the red prints that belonged to the secret service and us. The computer rejected the hoof prints, and it color-coded the ones it couldn't match, which by default are the killers'. (Quick flash to: [STABLES] The wheelbarrow, heavy and filled with coins is pushed into the stall. The wrists are bound by rope. Close up of the victim's head. End of flash. Resume to present.) SAM: One of the men is wheeling the coins in a wheelbarrow. Another is walking around the body, tying the half hitch knots around his ankles and wrists, and another is kneeling down by the victim's head. (She points to the picture.) You can tell by the balls of his feet. (BAILEY and GEORGE nod.) GRACE: And they weren't shy about leaving fingerprints. We pulled a couple hundred from the crime scene and the coins that killed Mardigian. GEORGE: Those silver dollars were bought at the St. Louis exchange using cash and a phony I.D. BAILEY: Of course it would be phony. These people go to a lot of trouble to be anonymous. And none of their fingerprints are even in the system. SAM: What else do we know about Mardigian? GEORGE: Never married, no kids, no living relatives. SAM: The pictures of the kids on his wall. Who are those, friends' kids? (The monitor shows the photos on the wall and zooms in on the various photos.) BAILEY: I've got friends, they send me pictures of their kids all the time. I don't hang them up. (SAM thinks about it.) GRACE: What about his neighbors? I mean, doesn't anybody know this guy? SAM: No. They said he wasn't around very much. BAILEY: He's got some powerful friends in Washington. There he is with the ambassador to China, Marlow Post. GEORGE: This other guy is Senator Andrew Fitzgerald. BAILEY: I have John and Nathan in D.C. talking to all of them. GRACE: Well, I guess with friends like that, who needs neighbors, huh? SAM: Is it friendship or thanks for the campaign contribution? GEORGE: Fitzgerald's had some trouble with contributions. I found out that the Senate Ethics Committee is about to release a report on him and it looks like it could be enough to get him impeached. BAILEY: That's something John and Nathan should know about. (BAILEY picks up the phone and dials.) [EXT. WHITE HOUSE - DAY] LEGEND: WASHINGTON D.C. [EXT. STREET - DAY] (NATHAN talks with the cop and takes a business card from him. JOHN is in the car on the phone with BAILEY.) JOHN: Fitzgerald's secretary said he's been missing since this morning ... (NATHAN slips back into car.) JOHN: D.C. cops found the car just now. What's the address here? INTERCUT WITH: [INT. VCTF - COMMAND CENTER] JOHN: (from phone) "54th and Adamson." GEORGE: Adamson? Wait. (GEORGE runs a search on the computer.) Hold it, hold it. That sounds familiar. You know, Fitzgerald's Secret Real Estate in D.C. is a big part of his problem. This guy's a slumlord. It's all over the Ethics Report. (The results of the search appear on screen.) All right, here we go. He owns a building on the 59th JOHN: 59th and Adamson. (JOHN hangs up and drives away.) [INT. BUILDING ON 59TH AND ADAMSON - DAY] (JOHN and NATHAN walk through the building.) JOHN: If he's here on business- NATHAN: He'll have to deal with the manager. JOHN: Not the tenants. NATHAN: He's got to have an office, right? JOHN: Mm-hmm. (They push through the double doors and hear a man screaming.) JOHN: What the hell is that? NATHAN: It's coming from in there. (They take out their weapons.) NATHAN: Somebody's not having fun. (And slowly approach the closed door where the screams are coming from. They stop.) JOHN: After you. NATHAN: (rolls his eyes) Be my guest. (The doors are pushed opened; NATHAN and JOHN burst into the room.) NATHAN: Federal agents! Don't move! (Inside, we see a couple of blonde-haired people wearing black. They look up when NATHAN yells. They turn and run.) (They slowly enter the room. A volley of gunfire shoots at them.) NATHAN: Get back! (They both pull back out of the room. We see a man and a woman holding automatic weapons and firing.) (There's a shootout. The people in the room slowly move back as JOHN and NATHAN work their way forward.) JOHN: Ok? NATHAN: Okay, come on. (The people in the room turn and leave. JOHN and NATHAN work their way carefully through the room.) JOHN: I got your back. (In the background, the sounds of tires screeching is heard.) NATHAN: (o.s.) John. (JOHN turns around and sees something, his eyes widen.) JOHN: Nath? NATHAN: Yeah? JOHN: Come here. (NATHAN steps out from behind the column and walks over to see why JOHN'S calling him.) (They find SENATOR FITZGERALD tied to a column a large funnel taped to his mouth.) JOHN: Senator Fitzgerald. (JOHN and NATHAN sigh from the sight.) FADE OUT. FADE IN. (GRACE finishes up at the crime scene and gives her report. She hands the funnel and bloody tube to the agent. She stands up and heads back to the group.) GRACE: If he was alive when you got here, he was nearly dead from the shock. He was force-fed pennies until his stomach ruptured. From the bruises, I would say that he had a little help with a few kicks. NATHAN: They were good. Planned ahead: Contingency escape routes, everything. We walked right into it. BAILEY: Four shooters, one was a woman. JOHN: That's what we saw. (SAM thinks about it.) (Quick flashes of: Half-hitch knots being tied to secure the victim's wrists. MARDIGIAN dead, his eyes wide open, coins surrounding him. Half-hitch knots being tied. The SENATOR being force-fed coins through the funnel. End of flash. Resume to present.) SAM: Same knots, same sort of icy hatred. BAILEY: Silver dollars Mardigian, pennies for Fitzgerald. SAM: Well, they both misused money. Mardigian used it to indulge himself with everything, and Fitzgerald debased it by gouging the poor in rent. BAILEY: It's ironic. His mother's a Vanderhorn. He was born into money. NATHAN: He squandered a trust fund of $11 million. Too many houses, too many wives. (The team leaves the site and walks through the corridor. They meet up with COOP headed in their direction.) JOHN: What are you doing here? COOP: Partner, I'm working. Same old, same old. BAILEY: Hey. How do you like D.C.? COOP: I wouldn't even know. Since A.T.F. transferred me up here last month, I've been in town maybe five days. Hooked up with this new task force on global terrorism. It's like I'm gone all the time, zooming all over the planet. Heard about this thing with the senator. Thought maybe I'd get over here and, uh, check it out. (to SAM) Hi. SAM: Hi. I called you last week. COOP: Got your message when I got back. I was in Riyadh on a car bombing. I'll tell you about it later. SAM: Okay. JOHN: So what's your new job got to do with Fitzgerald? COOP: Fitzgerald was the chairman of the senate anti-terrorism committee. And by most accounts, doing a good job. Made a lot of serious enemies around the world. BAILEY: We've got another victim in Kentucky. Same M.O. pretty sure it's by the same people. COOP: The narco terror boys, maybe? (BAILEY exhales and shakes his head.) SAM: Terrorists are usually pretty expedient. COOP: True. SAM: This is a slow death for its own sake. BAILEY: Doesn't seem to be a practical motive here. They might be working off a list. Let's just hope it's not too long. COOP: If Andy Fitzgerald's on it, it doesn't have to be long to be bad news. It'll be a star-studded funeral. SAM: We should be there. They may want to watch him be put into the ground. BAILEY: Ok. CUT TO: [EXT. SIDEWALK OUTSIDE BUILDING - DAY] (COOP walks SAM out.) COOP: So I heard you guys have Jack on the run. SAM: Yeah, close but no cigar. COOP: Yeah, but he won't be on his best behavior now that he's running. SAM: Yeah, well, that's what I'm hoping. Are you going to stay on this case? COOP: It's pretty much my call. ATF will want to be right in there until we're sure Fitzgerald wasn't a target of some kind of terrorism. So I'll be flying down to Atlanta tomorrow. And I'll be start going out with you again. (She laughs.) SAM: Really. COOP: Yeah. SAM: Oh, that's what I like about you. Just right to the point. COOP: Yeah. It's good. SAM: Uh ... I would, um ... I would, uh, like to be, uh, a step closer to a more normal life. You know. Before we -- you know? COOP: Yeah, well, I can help you with that. SAM: Um, you know what? I-I've got to go. We're getting reports every fifteen minutes from the Atlanta P.D. And I've been away, so I've got to get back. COOP: Oh, yeah. Great. (He takes a step closer to her.) COOP: Uh ... I'll see you tomorrow. SAM: Yeah, okay. Bye. COOP: Bye. (SAM turns and leaves. COOP watches her for a moment before also turning to leave.) CUT TO: [JACK'S PLACE] (CLOSE UP: KNIFE) (CLOSE UP: GUN) (CLOSE UP: He zips a black leather bag closed.) (He puts the bag in a luggage. On the top is a cut out photo of SAM. He twirls the barrel of the revolver around and around making a clicking noise in the silence.) [EXT. TRAILER - NIGHT] (The SECURITY GUARD with a flashlight walks outside the trailer.) (JACK puts the gun in the luggage and turns to turn the lamp on the sink counter off.) (The SECURITY GUARD walks by the darkened window. He pauses and looks around.) (He hears something.) (He turns around and sees the padlock on the trailer door broken.) (He opens the door.) SECURITY GUARD: Who's in there? (He steps into the trailer and looks around. JACK hits the SECURITY GUARD on the head from behind.) GUARD: Aah! (There's a struggle and the SECURITY GUARD falls to the floor.) JACK: (whispers) Buenos noches. (Outside, a dog runs up to the trailer's open door. He pauses and woofs. He sniffs and woofs some more.) JACK: Come on. Here, doggy doggy. (The dog jumps into the trailer. The dog whimpers.) (JACK leaves the trailer, closing the door behind him. He lights a cigarette. He takes a smoke and leaves with his suitcase in his hand, whistling as he goes.) CUT TO: [EXT. TRAILER - DAY] (NATHAN pulls himself from out under the trailer. He has the knife in his hand and puts it in the open envelope JOHN'S holding.) (JOHN hands NATHAN a handkerchief.) JOHN: Look at you, man. Wipe your face. (NATHAN wipes his brow as JOHN steps away from him, amused.) NATHAN: Thank you. (BAILEY and SAM walk around to the green trailer. GRACE stands next to the door and motions them inside.) GRACE: After you. (SAM walks into the trailer first.) SAM: Thank you. (SAM looks around a the sink.) BAILEY: Definitely Jack's R.V. SAM: His home away from home. BAILEY: Everything he needed to replace what was left behind at his lair. So much for running scared. (BAILEY looks around the room and notes the make-up kit open on the counter. GRACE reports her preliminary findings on the body on the floor.) GRACE: From the odd angle on the head, I would say that it was a c-spine fracture, pretty high up. He twisted it one way, and then he cracked it again after he was dead. BAILEY: A little fillip just for laughs. We've seen him do that before. Could be his technique of choice when he's taken for surprise. GRACE: Thank god for the dog's barking. We might not have found him for days if the neighbors hadn't called the cops. I'll see you guys later, all right? (GRACE turns and leaves.) SAM: All right, thanks. BAILEY: Thanks, Grace. (SAM looks around the trailer.) (BAILEY shows SAM the stained piece of cloth.) SAM: Ok, so we have disguises. We've got the clothing. We've got the food. We have a veritable fall out shelter. (SAM sees the photo album on the table. She picks it up and looks at it. Inside are newspaper clippings.) SAM: Bailey, come take a look at this. BAILEY: More self-worship? SAM: No, actually, there doesn't seem to be a thing about Jack in here. BAILEY: Jeffrey Dahmer, Son of Sam. Most of them keep scrapbooks, about their own crimes. SAM: And he wouldn't be studying other's techniques. I mean, he prides himself on his originality. But it can't be about others. It's got to be about him. NATHAN: Uh, Bailey? (NATHAN walks into the trailer. BAILEY turns around toward him.) NATHAN: We've given it a once-over. No electronics, no propane, a few inches of water in the tank. He wasn't planning on being here long. BAILEY: (to NATHAN) Thanks. (He turns to SAM.) He could have ten of these RVs. (Quick flash of: The open sketch composite of JACK. JACK flips through some bills. He spins the revolver. End of flashes. Resume to present.) SAM: Well, he's finished with this one. (BAILEY turns to leave, SAM follows him.) CUT TO: [INT. VCTF - COMMAND CENTER - DAY] (COOP walks across the room to take his seat with the rest of the team at the conference table.) GEORGE: We knew Senator Fitzgerald and Sergei Mardigian were connected. You were right, Bailey. It was the money. COOP: We started with the piano, which he did pay for in cash. GEORGE: We traced the cash back to the bank in Lawrenceburg. COOP: The Federal Reserve hadn't picked up for the week, so the money was still in the vault. GEORGE: Sequential serial numbers, which we traced to the National Bank of Chicago. COOP: Where we learned that Mardigian had been getting paid in cash for years by an off-shore holding company by the name of Dickens-Benedict Ventures. GEORGE: Which, after about, like, fifteen cutouts in six countries, turns out to be a subsidiary of Vanderhorn, inc. COOP: Suffice it to say, Senator Andrew Fitzgerald's proud mama was the family Grande Dame, Claire Lane Vanderhorn. BAILEY: Okay. This connects the two murders. Now all we need to do is find out why Mardigian was being paid by... COOP/GEORGE (BOTH): Fitzgerald's Family. (BAILEY smiles.) BAILEY: Good. Nice work. CUT TO: [GRACE'S LAB] (GRACE pushes a plastic hosing down the wooden anatomy piece's throat.) GRACE: This is the damnedest thing I've ever seen. It went right through the stomach, perforated the small intestine. What a way to die, huh? Then there's a twist on the money. (GRACE walks over to the magnifying glass light near SAM.) GRACE: The shotgun slugs were custom-made from silver dollars. They were heated and beat into shape. (She shows the home-made piece to SAM.) GRACE: Now, why would someone melt down money to make silver bullets, huh? SAM: Lone ranger complex, maybe? I don't know. It's as if they're punishing people for the way they use money. GRACE: You think it's a political statement? It's a class war? SAM: No, the killers were a connoisseurs of wine. They have experience tying sailing knots. Did you date the photos of the kids at the Mardigian's house? GRACE: Mm-hmm. Judging from the proofs, I'd say it's about fifteen years old. SAM: Which would make them in their early twenties. Ok, so we know that Vanderhorn was paying Mardigian - and we know that it's all connected somehow. Is that it? GRACE: Well, in between working on the coin killers, I have some very interesting evidence from Jack's lair. Here we have Dr. Dexter Nelson's driver's license. And here we have a necklace that belonged to Maude Martin, nicely women into the rug. (Camera moves from the driver's license to the necklace.) GRACE: And here - ever hear of a glass eye? (GRACE picks up a rag doll with the name "SUZIE" embroidered on its apron. She shows the doll's right eye to SAM.) GRACE: Well, I did a little surgery. Take a hint. That's not glass. (She hands the doll to SAM. Close up of the doll's eye shows it's a diamond still in its setting. GRACE removes the diamond still attached to the chain.) SAM: It's expensive. GRACE: Mm-hmm. SAM: But there was no report of a diamond like this missing from any of Jack's victims. GRACE: Yeah, well, this isn't going to be hard to find. I mean, check it out. (She hands the eye-piece magnifying glass to SAM.) GRACE: Take a look at the girdle of the stone. (SAM looks and we see a number: 7333.) GRACE: I've got a registration number. I can find out the name. Let's just hope it's still the original owner. (SAM hands the things back to GRACE.) SAM: Great. Thanks, Grace. GRACE: Ok? SAM: Yeah. GRACE: Yeah, all right. CUT TO: [BULLPEN] (SAM walks across the room.) COOP: Sam. (She turns and sees him carrying a cup of coffee toward her. He hands her one.) COOP: Hi. SAM: Thank you. COOP: You're welcome. SAM: It's so funny seeing you here. I'm so used to talking to you on the phone now. COOP: I know. It's weird. I'm here, just a coffee break away, at least for the time being. You want to have dinner tonight? I heard about this new Italian place: Il--il--il something. It's got a big open oven. They got the fire in there. They stick the big wooden spoon in there to cook the stuff. (SAM laughs.) COOP: We could do the Thai place. SAM: You know, uh, why don't you come to my place? You can meet Chloe. It- it'd be fun. COOP: Thought you'd never ask. SAM: Ok, say, uh, 8:00? COOP: 8:00. SAM: Right. Good. Thanks for the coffee. COOP: Great. (SAM turns and walks away.) CUT TO: [EXT. FIREHOUSE - NIGHT] [INT. SAM'S PLACE - NIGHT] (CHLOE stands at the table and pushes the wrapping aside to open the box. COOP leans against the couch watching from the distance.) COOP: It's an ant farm. (CHLOE giggles. She takes out the glass container with the dirt inside.) CHLOE: Mom, look! SAM: (smiles) Yes, it's an ant farm. (to COOP) Great. CHLOE: But where are the ants? COOP: Uh, resting. They're working, actually. They're hard-working ants and I'm going to bring them over next time. CHLOE: I can't wait. SAM: Yeah, I can't wait, either. (to CHLOE) Know what time it is? It's time for you to go to bed. CHLOE: Then can Coop tell me a story? COOP: I'd love to, but only if you promise to tell me a story, too, 'cause your mom tells me that you are a great storyteller. CHLOE: (smiles) Thank you. I know lots of stories. COOP: That's what I heard. SAM: Ok, why don't we go get you tucked in first, shall we? CHLOE: (gets up) Okay. SAM: Okay. (SAM and CHLOE leave the room. COOP watches them go.) SAM: There we go. [BEDROOM] (SAM walks into the bedroom and finds CHLOE bouncing on the bed.) SAM: Ah ah ah ah ah. CHLOE: Tonight was the most funnest night I've ever had in my whole life! SAM: In your whole life? CHLOE: For a long time, anyway. Could Coop stay over for dinner every night? SAM: Every night? That's a lot of nights, don't you think? (CHLOE thinks about it.) CHLOE: Ok, every other night? (SAM and CHLOE laughs.) SAM: Every other night. Up with the arms. (CHLOE raises her arms up high.) [LIVING ROOM] (SAM finds COOP looking at the ant farm instructions.) SAM: An ant farm. COOP: There's more to this than I realized. They keep aphids. The ants keep aphids. They milk them like cows. They do! It's amazing. SAM: Chloe really likes you. COOP: I like her, too, a lot. SAM: How did you know she likes to tell stories? Did I tell you that? COOP: You know, I'm not sure. I think you might've but I could've dreamed it. (He puts the instruction booklets down.) I've been dreaming lot lately. So, uh ... Yes, uh ... I think this is the part where we kiss and make out and stuff. (COOP leans in to kiss SAM. He gets closer - and closer - and ... ) CHLOE: (o.s.) Mom, Coop, I'm ready for my story! (SAM points to the bedroom behind Coop.) COOP: (whispers) Okay. (He turns and heads for CHLOE'S room.) CUT TO: [EXT. CEMETARY - DAY] (There's a small group gathered at the graveside. The MAN talks.) MAN: I will lift up mine eyes unto the hills from whence cometh my help. My help cometh from the lord, who made heaven and hearth. He will not- (Also in attendance are SAM and BAILEY. Behind them, parked near the curbside is the VCTF van.) [INT. VAN (PARKED)] GEORGE: The latest in minicam technology. (The monitor shows GEORGE adjusting the camera. COOP and GEORGE are inside the van.) GEORGE: How do I look? COOP: I'm not sure it's your best side. GEORGE: Ok, that should be it. Sometimes you just gotta, like, tweak it a little bit. High-priced technology. COOP: So I'm cool? GEORGE: Yeah. COOP: I'm gone. (COOP stands up and leaves the van.) (On the monitor, we see the button-cam view of COOP heading toward the group standing around the gravesite.) COOP: Just tell me where I should point my buttons. GEORGE: Play the right side. Sam and Bailey are working the left. COOP: Good. Just call me the "Coop Cam". GEORGE: Coop, your video signal is breaking up. Try tapping it again. INTERCUT WITH: [OUTSIDE] (COOP taps the cam on his lapel.) GEORGE: Ok, got it. Good picture. GEORGE: At 3:00, Senator John Upland and his lovely wife, Betsy. COOP: Oh, look at him try to emote. Upland hated Fitzgerald. He's the one who got that ethics thing going in the first place. That dapper gentleman in the background is Micky Bambino of the organized crime family. Very touching of him to show up. GEORGE: Panning the V.I.P.s. All the usual suspects. Wait. Go back to the guy with the gloves. COOP: We got I.D.S on the front row? (GEORGE narrates the who's who list as the monitor shows the faces.) GEORGE: It's Fitzgerald's brother busted for insider trading last year. His ex-wife Babs, who already signed a book deal. And there's the baby sister Monica Hendricks. On here on a weekend pass from the detox center. They travel with their lawyer, Bernard Ravanski. Everybody wants a piece of the action. BAILEY: Lifestyles of the rich and dysfunctional. (Trumpets play taps.) GEORGE: Here comes the grand finale. (A soldier in uniform walks out carrying a folded American Flag. He hands the flat to the family patriarch.) GEORGE: Receiving the flag for the family, Charles Vanderhorn. SAM: Fitzgerald's uncle. BAILEY: The last tycoon. COOP: After world war II, Byron Vanderhorn divided his estate among 6 grandchildren. Charles' cousins weren't as wise with theirs. GEORGE: There's Charles Jr. Sonny. BAILEY: Even with 5 tutors and a payoff, he couldn't finish college. SAM: There's no love lost between sonny and his father. BAILEY: You can't blame the old man. Sonny put half his inheritance up his nose. The other half he left in gambling parlors around the world. That's why he needs a full-time contingent of bodyguards. GEORGE: Looks like Vanderhorn's getting ready to split. I'll have a printout on all these characters when we get back to the VCTF. BAILEY: There's a fun way to spend the evening. (The GUARD fires.) SOLDIER: Fire. Aim...fire. SOLDIER: Fire. SOLDIER: Present...ho. GEORGE: All right. We got pictures of everybody. COOP: Not much of a turnout. SAM: Not for a senator. No one's mourning him. BAILEY: Well, with an ethics investigation, you shed friends like fleas. Take a look at Vanderhorn. He looks a little cagey. COOP: You think Uncle Charlie's dirty, too? BAILEY: Well, maybe he can tell us who killed his nephew. (Camera holds on CHARLES VANDERHORN.) FADE OUT. FADE IN. [EXT. BUILDING - DAY[ LEGEND: VANDERHORN INDUSTRIES [INT. VANDERHORN'S OFFICE -- DAY] (BAILEY, SAM, JOHN and COOP interview CHARLES VANDERHORN.) CHARLES VANDERHORN: Well, obviously, I was shocked, the way they brutally and sadistically murdered my nephew. I'm not sure I understand the meaning of it. BAILEY: Do you know if he received any threats? CHARLES VANDERHORN: No, I wouldn't know that. He was a politician. He had many friends, and I assume, enemies as well. BAILEY: What about Mickey Bambino, head of an organized crime family? He was at the funeral. CHARLES VANDERHORN: My nephew was not a very discriminating man, and I'm afraid it cost him. But I think it's important to keep Senator Fitzgerald's life in perspective. He was a public servant all his life, and he did a lot of good. A lot of good. But, he was a flawed man, like all of us. (SAM has a quick flash of: The two crime scenes. The victim in the stall, the coins pouring down on his chest. The second victim with the funnel down his throat. End of flashes. Resume to present.) BAILEY: How about your son? It's known that he would visit Las Vegas with Mr. Bambino. CHARLES VANDERHORN: Huh. My son is a grown man. I no longer keep track of his comings and goings. JOHN: When was the last time you saw Senator Fitzgerald? CHARLES VANDERHORN: It was at a Board of Directors' meeting for Youth Rights Foundation. Uh, last month. SAM: You founded that Organization, didn't you? CHARLES VANDERHORN: Yes. I am proud of that. BAILEY: Mr. Vanderhorn ... four days ago, a man in Kentucky named Sergei Mardigian was killed almost the same way the senator was. CHARLES VANDERHORN: Really. BAIELY: Did you know him? CHARLES VANDERHORN: The name's not familiar. BAILEY: One of your companies has been paying him for the past 19 years. CHARLES VANDERHORN: (chuckles) That's very possible. See, I have thousands of employees, and I don't know them all by name. (BAILEY chuckles.) BAILEY: Well, we do. CHARLES VANDERHORN: Well, now if you'll excuse me ... SAM: Of course. BAILEY: We'll be in touch. (They stand up. BAILEY shakes VANDEHORN'S hand.) CHARLES VANDERHORN: Yes. (On the wall near his desk, SAM sees a framed picture of four sailboats, each with a different symbol on the white sail.) (She has a quick flash of: The half-hitch knots used to tie the first and second victims. End of flash. Resume to present.) SAM: One of your grandchildren? CHARLES VANDERHORN: I have no grandchildren. Is there anything else? SAM: No, no. No, thank you. Goodbye. (She turns and walks out of the room. The others follow.) [INT. VANDERHORN INDUSTRIES -- HALLWAY/LOBBY -- CONTINUOUS] (The four walk through the lobby.) JOHN: He's a better businessman than he is a liar. COOP: Interesting, though, that he does seem to be trying to do some good in the world. BAILEY: Maybe he should've spent more time with his own kid. SAM: He knows the killers. BAILEY: What makes you say that? SAM: That drawing of the sailboat on his wall. It was dated 1983. And each one of the sails had a different symbol on it, as if it was drawn by a different child. Killer used sailing knots. BAILEY: John, get someone on Vanderhorn. In fact, let's get an electronic surveillance warrant on him. (BAILEY'S phone rings. He answers it.) BAILEY: Malone. (pause) Thanks. (He hangs up and turns to SAM.) BAILEY: Got a name from gemstone registration on the diamond we found at Jack's place. Belonged to a woman named Willa Sutter. CUT TO: [EXT. AIRPORT] (The captain examines his plane when JACK walks up to him.) JACK: Yo, cap. I'm sorry, man, but the FAA has got us filling out these things now. (He holds out a clipboard and form to the CAPTAIN.) CAPTAIN: No problem. JACK: Fuel status? CAPTAIN: Full. Uh, she takes four to five hours to fuel. JACK: GPS? CAPTAIN: Wouldn't fly without one, you know what I mean? JACK: Can I get a signature? (The CAPTAIN takes the pen and signs the form.) (JACK takes out the revolver and cocks the weapon.) JACK: I'm afraid I'm gonna have to alter your flight plan, Captain. JACK: Let's go. (JACK picks up his suitcase and pushes the CAPTAIN toward the plane.) (Cut to: The plane takes off.) [INT. VCTF - COMMAND CENTER - DAY] (NATHAN walks into the room.) NATHAN: Okay, we've got a possible on Jack. The FAA just flagged a private plane missing from a small strip in South Atlanta. Bradford field. (NATHAN sits down at the table.) SAM: Missing? What do you mean, it crashed? NATHAN: They don't know. It's a lear jet with extended range. You know if jack can fly an airplane? SAM: That certainly explains how he traveled all over the country. NATHAN: Or out of it. That airplane has a radio transponder which automatically paints its I.D. on a flight control radar. It either went into the drink, or below the radar -- fifty feet. And it's headed south to the Caribbean or Central America. GEORGE: Well, we got FBI offices in Kingston, Acapulco, Costa Rica ... NATHAN: I already made the call. GEORGE: Yeah. Sam? SAM: Yeah? GEORGE: The diamond that was found in Jack's lair ... belonged to this woman, Willa Sutter. SAM: What happened to her? GEORGE: She was nearly beaten to death by her lover who was the serial killer Austin Keller. SAM: Dr. Keller from Savannah? GEORGE: Mm-hmm. Sutter was Keller's girlfriend till he put her in a coma in 1988. Three years later, she came out of it. (Quick flashes of: The photo album in the trailer, the newspaper clipping of WILLA SUTTER and the acid-eaten diploma. End of flashes. Resume to present.) GEORGE: She started to recover, and then she just walked right out of the hospital. SAM: Jack's medical diploma came from Savannah Medical College in 1970- something. GEORGE: And Keller graduated from there in '79. NATHAN: Where's Keller's picture? GEORGE: It's right here. (GEORGE puts KELLER'S photo and the sketch of JACK up on the monitor side-by- side.) SAM: This could be Jack. GEORGE: Well, yeah, it's really similar, but we only have a sketch. NATHAN: While they look for the plane, why don't you and I take a trip down to Savannah, see how this is connected? SAM: One way it could connect is if Dr. Keller has been living in Atlanta under the name Carruthers, the man we know as Jack. I mean, that would explain Jack's scrapbook. He has been collecting clippings about himself. GEORGE: You think Jack is Keller? Keller's supposed to have killed himself in '88. SAM: Yeah, I know, I -- does it say where? GEORGE: Costa Rica. (They all turn to look at the blinking lights on the monitor, COSTA RICA being one.) FADE OUT. FADE IN. [EXT. VCTF BUILDING - NIGHT] [INT. VCTF -- BAILEY'S OFFICE -- NIGHT] (BAILEY, JOHN and COOP are in the office.) BAILEY: Ok, we got the warrant for Vanderhorn's office. COOP: Good. BAILEY: Coop, you've disarmed enough bombs, think of this as a ton of TNT. JOHN: We won't get caught. BAILEY: Well, I hope not. Vanderhorn has served under six administrations. This one has connections all the way up to Pennsylvania Avenue. One call, we shut down. I want a full-proof plan. COOP: Okay, I'll give you one. JOHN: He said 'full-proof'. CUT TO: [INT. VANDERHORN INDUSTRIES - NIGHT] (COOP is sitting on the roof. He's dressed in black and wearing gloves. He's just dropped a wire down into the lobby.) JOHN: (over radio) Is this thing working? COOP: Yep. Unlike some FBI guys I know who are sitting on their cans. (Parked on the curb is the VCTF van. Inside the van are JOHN and GEORGE.) (COOP starts to lower himself from the room down into the lobby.) COOP: Down I go. (muttering) Past Home Furnishings. Ladies Sports Wear, very tasteful, approaching the Men's Department ... (COOP continues to descend the wire. In the background, a SECURITY GUARD walks across the landing. The GUARD'S radio turns on, he hears it and turns to see the GUARD on the walkway.) COOP: (to radio) We've got a problem. There's a rent-a-cop on the balcony. (In the van, JOHN turns to look at GEORGE.) COOP: (to radio) You guys hear me? (COOP doesn't move.) JOHN: Yeah. We're just here ... sitting. Want me to call one of those guys at the ATF to come and bail you out? (JOHN gets up, removes the headset and steps out of the van.) (JOHN closes the van door and jogs over to the building.) GEORGE: Hang on. John's coming to bail you out. COOP: (to radio) It would be helpful. (JOHN walks up to the glass door and pounds on it. JOHN: Hey! Hey-hey-hey! Let me in! (The SECURITY GUARD looks down at the door and sees JOHN pounding on the glass.) JOHN: Hey! He-e-e-ey! (The SECURITY GUARD runs off the walkway heading toward the lobby door.) SECURITY GUARD: (to radio) Disturbance at the main gate. I'm going to check it out right now. (He puts the radio away. Meanwhile, JOHN continues to pound on the glass door causing a rukus.) (The SECURITY GUARD heads downstairs. Once in the clear, COOP continues his descent. He lands on the lower floor.) JOHN: Hey, buddy, come on. Come here. SECURITY GUARD: What is it? (COOP disengages the wire and heads to the office.) (Meanwhile, JOHN points to something behind him as the SECURITY GUARD opens the front door.) [INT. CHARLES VANDERHORN'S OFFICE - NIGHT - CONTINUOUS] (COOP opens the office door and slips inside.) COOP: (to radio) I'm in. GEORGE: (over radio) Make it quick. Our luck, they'll call the cops on John. Blow this whole thing. [LOBBY] (The SECURITY GUARD opens the front door.) SECURITY GUARD: What do you want? (JOHN casually steps into the building and runs, forcing the SECURITY GUARD to chase after him.) SECURITY GUARD: Hey! Hey! (JOHN takes a couple of steps into the lobby and sees COOP'S wire hanging from the ceiling. He stops and lets the SECURITY GUARD catch up with him.) JOHN: Ho-o-old on, Bobby! SECURITY GUARD: Hey, the building's closed, sir! (JOHN turns on the SECURITY GUARD.) JOHN: Oh, so you're the one, eh? SECURITY GUARD: What? JOHN: You saw me talking with that joker from the bar next door, huh? (A second SECURITY GUARD joins them and pulls JOHN away from the other GUARD.) (Inside the van, GEORGE listens to JOHN over the radio.) (In the office, COOP looks around and sees something.) COOP: Let's try this one. GEORGE: (over radio) Hurry up. John's not going to last long with these guys. COOP: Okay, just give me a second. (He sets the bug.) COOP: Okay, it's set. Got anything? (On the monitor in the van, it's blank.) GEORGE: Dark as night. Forget it, Coop. Just get out of there. (COOP stares at the bug.) (Meanwhile, downstairs, the two guard have JOHN in their grip and start dragging him over to the front door.) SECURITY GUARD: Okay, let's get out of here. JOHN: Hey, guys! SECURITY GUARD: Let's go. Let's go. (Inside the office, COOP stands there and thinks about it. He adjusts the item on the counter. The monitor in the van flares to life.) GEORGE: Bingo. COOP: I'm out of here. (He packs his things and heads out.) (Downstairs, the two guard drag JOHN across the lobby toward the doors. JOHN's still yelling and giving them a hard time vocally, but not really resisting being lead across lobby.) (COOP is up above the roof and pulling the wire in toward him.) JOHN: (yelling incoherently) (COOP leaves.) (The SECURITY GUARDS reach the door and push him outside.) SECURITY GUARD: Beat it. JOHN: (points to the GUARD) If I find out that she was here, I'll be back. (JOHN turns and leaves.) SECURITY GUARD: You're nuts, man. (Camera holds on GEORGE in the van.) CUT TO: [EXT. COMMUNITY - DAY] LEGEND: SAVANNAH, GEORGIA (A helicopter flies overhead.) [INT. BUILDING - STAIRS - DAY] (NATHAN and SAM walk up the stairs with the DIRECTOR.) NATHAN: How'd he kill eleven of your patients and nobody caught on? DIRECTOR: He was a resident surgeon, he had our trust, how could we know? (They reach the floor and walk out into the main area.) SAM: And you knew Willa Stella? DIRECTOR: Of course I knew Willa. She was one of my nurses. I had hoped she would fully recover. When he beat her, there was just too much brain damage. After she disappeared, we raised a reward, printed posters, we went to all the little towns in the area - asked if they'd seen her. No one has seen her since 1991. (They walk into her office area.) SAM: Did you see Dr. Keller after that? DIRECTOR: Keller shot himself nine years ago. He's buried somewhere in Central America. SAM: Thank you very much for your time. (They turn to leave, but something catches NATHAN's eye. He points to it.) NATHAN: You always name your bones? (The skeleton has a nametag: SAVANNAH SUZIE.) DIRECTOR: Tradition. Skeletons always get nicknames. NATHAN: "Savannah Suzie." It's cute. (SAM has a quick flash: On the skeleton's name tag. The rag doll. The name, SUZIE, on the rag doll's apron. The diamond in the rag doll's eye. End of flash. Resume to present.) SAM: How long has this been here? DIRECTOR: I don't know. Why? (SAM turns from the DIRECTOR back to the skeleton.) CUT TO: [INT. VCTF - LAB] (GRACE shows the x-rays.) GRACE: Six matches on the fractured pattern from her beating. No question. It's Willa Sutter. (BAILEY walks over to the skeleton.) BAILEY: Think about it. Kills her ... strips off her flesh ... and hangs her right under everyone's nose. (Quick flashes of WILLA SUTTER'S photo taken when she was alive and smiling. Another flash of the crime scene photo when she was beaten. Flash to the skeleton's skull. End of flashes. Resume to present.) BAILEY: Sam, all Jack's victims had something to do with your past. You sure you didn't know her? SAM: No. I've done several background checks. Her name didn't show up. So Keller came back to finish her off? It's the same man, Bailey. Keller fakes his own death and comes back as Jack. (They all stare at the skeleton. Behind them, the lab door opens and JOHN walks in with a cup of coffee in his hand.) JOHN: Show time! Just fired up the video in vanderhorn's office. So much for the rarefied pleasures of the rich and famous. He's watching tv. (BAILEY smiles. JOHN turns and leaves.) BAILEY: (to SAM) We'll exhume the remains in Costa Rica ... to be sure. [BULLPEN TO COMMAND CENTER] (JOHN leads BAILEY and SAM across the bullpen toward the Command Center.) (On the monitor, they see CHARLES VANDEHORN watching a video of children playing.) GEORGE: I can enlarge the tv screen, but we'll loose some detail. COOP: Looks like home movie time. (On the monitor, they see him watch video of children playing hand games with each other and laughing. Someone is talking to the children off camera. The children turn around and wave to the camera.) (SAM has a quick flash of the children's pictures on MARDIGAN'S wall. End of flashes. Resume to present.) SAM: Those are the same kids mardigian had pictures of. JOHN: I heard him say, "Your father is watching." SAM: They must be his children. BAILEY: Who would their mother be? SAM: It's got to be more than one. They're all so close in age. BAILEY: I'll bet Mardigian was their tutor. (On the monitor, they watch as CHARLES VANDEHORN sits up and hits the switch on the intercom.) CHARLES VANDEHORN: (to comm) Yes? SECRETARY: Paul called about an hour ago. I didn't want to disturb you. CHARLES VANDEHORN: (to comm) Get him back right now! SAM: He didn't want her to hear the video. (The phone rings. CHARLES VANDEHORN sits back on his desk chair and answers the phone.) CHARLES VANDEHORN: (to phone) Where the hell are they? No, I don't have till tomorrow. They're not going to do this thing again. Now find them! (He hangs up. SAM watches him.) SAM: He's scared. BAILEY: George, let's find out who Vanderhorn was talking to. GEORGE: His building has 200 lines. There's not enough channels in the equipment to bring them all in live, so they're being taped, but I'll have it to you as soon as I can. BAILEY: (nods) Ok. CUT TO: [BULLPEN] (SAM walks through the bullpen on her way back to her office. COOP catches up with her.) COOP: Hey, Sam? I got the ants. (He shows the tube with the ants to her.) There's about ten dozen of them in here. I thought I'd stop by later and give them to Chloe. SAM: Oh, no, no. Tonight's not a good night. I just--I have a lot of work. COOP: Oh. Ok. Uh, well, you wanna ... give them to her? You could, uh ... no, let me hold on to them. They'll keep. I'm sure. Ok. (COOP turns and leaves. SAM watches him go.) CUT TO: [LAB] (SAM walks into the lab. BAILEY and GRACE are there standing over a table with some remains on it. BAILEY motions to the remains. BAILEY: Say hello to your late remains of Austin Keller. Extradited from Costa Rica last night. GRACE: I got his dental charts from savannah, but I don't need them. I would say that he's a Mayan local, he died of a broken neck, and the good doctor faked his death. BAILEY: Obviously a big payoff to the local police - to keep them quiet. SAM: Keller dies, Jack's born. FADE OUT. FADE IN. [INT. VCTF - SAM'S OFFICE - NIGHT] (GRACE peers in to SAM'S office. She knocks on the door lightly. She has her bag on her shoulders and is out of her lab coat. SAM looks up.) GRACE: Staying late? SAM: Yeah, well, I might as well. I'm just gonna end up taking it all home with me anyway. (GRACE takes a seat.) GRACE: Well, it must be pretty tricky now that Coop's back in Atlanta, huh? SAM: You can go ahead and ask me, Grace. GRACE: Ask you what, Sam? SAM: How are things going with Coop? GRACE: How are things going with Coop? SAM: I don't know. GRACE: Oh, that cleared that up. I'm so glad that I asked. (She looks on the desk and sees a drawing.) What's this? Chloe's latest? SAM: Coop gave her an ant farm, so she drew a happy ant family, and he suggested that she name them. GRACE: (smiling) You don't name ants. SAM: Apparently Coop does. (GRACE laughs.) GRACE: Well, she named the cutest ant Coop. SAM: I know. She really likes him. GRACE: Does that worry you? SAM: No. It's just, uh ... she lost her father, you know, and I don't want to bring another man into her life just to have him disappear somewhere down the line. GRACE: He doesn't seem like the disappearing kind. SAM: No, he doesn't. GRACE: You know what I think? SAM: What? GRACE: I think you've got to follow your heart. And on that note, I say good night. (GRACE stands up and leaves the office. SAM sits there thinking. She reaches over, picks up the picture and looks at it.) CUT TO: [EXT. BAR - PARKING LOT -- NIGHT] LEGEND: NEW ORLEANS, LOUISIANA (The trunk of a black car opens to reveal four heavy looking guns. Four people dressed in black each remove a gun from the trunk. They walk into the bar.) [INT. BAR - NIGHT] [SLOW MOTION] (They walk into the bar and cock their weapons. The bartender looks up. Sitting at the bar is one man. They both back away and put their hands up.) BOTH: Whoa! (They are both ushered further into the bar. They walk up the stairs.) [BACK GAMING ROOM - NIGHT - CONTINUOUS] (The doors to the back gaming room burst open. The men and women standing around the gaming tables turn around. Those with guns swing around at the intruders.) (The four blonde-haired intruders in black put their weapons up. The first two kneel as the other two take the position behind them, the four of them blocking the doorway.) SONNY VANDERHORN: What in the ... (They fire.) (Cut to: They put the weapons back in the trunk of the car and close the hood.) CUT TO: [EXT./INT. BAR - PARKING LOT - DAY] (The parking lot is surrounded by officer cars. The area is roped off with crime scene tape.) (Inside, the DETECTIVE walks SAM and BAILEY across the bar to the back room.) DETECTIVE: Used to be a speak-easy when New Orleans was a bit younger. The shooters got here around 5:30 a.m. when the bar closed. BAILEY: Any descriptions? DETECTIVE: Just a couple of street people. Three white males. They walked calmly out to their cadillac, dropped their weapons in the trunk and drove away, no one got the tags. The were using some kind of an assault shot-gun. BAILEY: It's called a "street sweeper." Same kind of weapon used at the Fitzgerald crime scene. (In the backroom, everyone is dead around the gaming tables.) DETECTIVE: Even the bartender was killed. I'm glad it's your case. I hear Sonny Vanderhorn was mobbed up. BAILEY: Yeah, but we're pretty sure it wasn't a mob hit. (SAM sees the woman in black lying face-down in front of them.) SAM: Uh, would it be possible for me to see her face? That blonde. BAILEY: You finished with forensics, all right. DETECTIVE: Go ahead and move her. BAILEY: Yeah. (JOHN steps forward toward the body. COOP moves up beside SAM. JOHN reaches out and rolls the blonde-haired woman over. Under her is her weapon.) (He reaches out and angles her face for SAM to look at.) (Quick flashes of the girl in white, the girl in the photos, the girl on the video. End of flashes. Resume to present.) SAM: She's one of the killers. It's always been three men and a woman. CUT TO: [INT. VCTF - LAB - DAY] (GRACE goes over the body lying on the table.) GRACE: Over here, we have Jane Doe of the coin killers. We have a missing persons out on her on fifty states, but there are no hits. BAILEY: Her fingerprints turned up at all three crime scenes. If she's Charles Vanderhorn's daughter, there's no record she was ever born. GRACE: Early twenties. A virgin, interestingly enough. And speaking of teeth, she has some of the healthiest I've ever seen. Dead or alive. SAM: No sex, no sugar. Where's she from, mars? BAILEY: Well, maybe not mars, but definitely money. Her clothes are all European imports. The labels have been cut out so we can't trace her I.D. (COOP walks into the lab.) COOP: I ran the serial number on her shotgun. According to this, that piece was never made. atf, we generally see guns like that from big arms dealers who made dirty deals with the factory. (SAM has a Quick flash of: The BLONDE-HAIRED WOMAN falls to the floor dead. The other three MEN turn and walk out of the back room.) SAM: They just left her. And they walked to their car. They didn't run, they walked. COOP: So much for growing up together. That's damn cold. (Quick flash of: The girl on the morgue slab. Her eyes open. Flash to them standing over Mardigian and throwing a bag of coins on him. Flash to them putting the silver coins down the funnel attached to Vanderhorn's mouth. In the casino backroom, they fire on the patrons. End of flashback. Resume to present.) SAM: All right, so they killed their tutor, their half-brother, and their cousin. Maybe they're trying to purge the vanderhorn family of corruption. BAILEY: Well, that's what it's starting to look like ... and Charles Vanderhorn is right in the middle of it. I'm gonna lay on a chopper to D.C. (BAILEY heads for the door.) BAILEY: It's time he let us in on it. (JOHN stands there and reports to BAILEY.) JOHN: We found jack's lear jet. (SAM turns around to look at JOHN.) [COMMAND CENTER] (As GEORGE reports to the team, an AGENT hands a phone to BAILEY.) GEORGE: The plane was abandoned on a grass strip on a hillside above the city of Jaco. The pilot was inside. He used the plane's radio to call for help, but he died before they got to him. JOHN: Pilot was sliced open. Eviscerated. NATHAN: We've got agents in Panama City headed over to canvass. We faxed over the sketch and keller's photo. SAM: We should be there. NATHAN: We'll find him. It's a small country. Not an easy place for him to hide now that we know he's there. (SAM turns and looks at BAILEY. Something's wrong.) SAM: Bailey, what is it? BAILEY: Coin killers just hit again. They shot up a seven-block stretch of Bourbon Street and left eight people in pieces. Total strangers. They never left New Orleans. SAM: They just killed them at random? BAILEY: They were tourists. We thought we knew what was happening, but we're wrong. We don't have the slightest idea. CUT TO: [INT. VCTF - BULLPEN / HALLWAY] (The elevator doors open. BAILEY and SAM walk out. They're met up by GEORGE who fills them in.) GEORGE: New Orleans P.D. signed out the bourbon street bodies. They're en route to Grace for autopsy. BAILEY: We're overstaffed here with pathologists at a hundred fifty percent. (JOHN joins up with them.) BAILEY: Sam, you might need to call home. We need to be in the air in an hour to have another chat with Vanderhorn. [COMMAND CENTER] (Everyone takes their seat at the table.) GEORGE: Now the coin killers' victims total fourteen people to date. (SAM has a quick flash of the series of victims being killed: Mardigian, Senator Vanderhorn and Sonny Vanderhorn at the bar.) GEORGE: The only thing is that we don't know where Vanderhorn is right now. Okay, take a look at the latest surveillance video from Vanderhorn's office. This was taken with of the bourbon street massacre. (GEORGE puts up the video to show CHARLES VANDERHORN on the phone standing behind his desk.) SAM: He's getting very frustrated. BAILEY: Isn't there any sound? GEORGE: No, it's a security countermeasure that the bureau's unfamiliar with. (The video fizzles out.) GEORGE: And that's all she wrote. Vanderhorn subsequently hopped into a waiting car and lost our tail. Now, the car surfaced at Dulles International, but Vanderhorn has disappeared. BAILEY: What do you mean "disappeared"? GEORGE: I mean, like, "gone -- without a trace". His jet is still sitting there on the runway, but there's no record of him boarding any commercial flights. JOHN: How can someone fly without leaving a trace? COOP: I can tell you. But then I'd have to kill you. (COOP turns to look at JOHN and smiles.) BAILEY: Ok, let's review what we know. We've got three subjects from a group of four who are believed to be the children of Charles Vanderhorn. JOHN: "Believed" is right. Their fingerprints aren't on file, there's no birth records of them, no school records, no passports, or social security cards. On paper, the coin killers don't exist. Yet they do exist and judging from the dead female, they're about twenty-two years -old. (Series of flashes of: The children playing. The video. The children playing. The dead female on the table in the morgue. End of flashes. Resume to present.) SAM: Did we ever find out who vanderhorn was on the phone with when he was watching that video of the killers as kids? GEORGE: Yeah, um, I think it was his lawyer, Dean Hamilton. I'm still working on it. BAILEY: Well, by all means take your time. GEORGE: I'm moving mountains. Nobody can tell. Vanderhorn Enterprises uses its own phone exchange with protected numbers. They're encrypted. BAILEY: Well, get through it, around it, something. In the meantime, let's get a picture of Vanderhorn and the coin killers on the wire. COOP: Uh, now, Bailey, you could do that, but Vanderhorn has the wherewithal to stay invisible for years. A better move might be to put our heads together and come up with some kind of sting, see if we can't get his kids and him to come to us. BAILEY: Thank you, Coop. NATHAN: People that disappear, phantom records. My CIA alarm is going off. JOHN: This could get messy if we're playing in the CIA's sandbox. If covert ops are involved, they'll deny it, no matter what. (The computer starts beeping to GEORGE'S delight.) GEORGE: Yes! I'm patching in surveillance photos from Sobrejo, Costa Rica. (On the monitor, photos of grass shacks go up.) GEORGE: Austin Keller, aka Jack, is in this compound. We got agents on-site, staking it out, and extradition is approved with the Costa Rican civil guard assisting. (BAILEY is up and moving. JOHN follows.) BAILEY: Let's get the jet prepped and ready in an hour. Nathan, take charge here. Find Vanderhorn. NATHAN: Coop, come with us. CUT TO: [EXT. JUNGLES - DAY] LEGEND: SOBREJO, COSTA RICA (A helicopter flies low overhead.) [COMPOUND] (The helicopter lands. Armed agents in khaki followed by the VCTF agents including BAILEY, JOHN, SAM and COOP work their way to the compound.) (In the background other agents follow along the hill.) TO BE CONTINUED ========================== END OF PART 1 CONTINUED IN 1X15: SHADOW OF ANGELS (2) ========================== [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 1X14: SHADOW OF ANGELS (1) (A.K.A. NOBLESSE OBLIGE) ORIGINAL AIR DATE ON NBC: 02/15/1997 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 JAMES COBURN as Charles Vanderhorn Special Guest Star A. MARTINEZ as Nick "Coop" Cooper GREGORY COOLIDGE DON HANDFIELD GEOFFREY INFELD CAROLE ITA WHITE HARRISON PAGE and JACK Co-Producer: JOHN FORREST NISS Co-Producer: CHARLES HOLLAND Produced by: ANTHONY SANTA CROCE Supervising Producer: CYNTHIA SAUNDERS Executive Consultant: STEVE FEKE Co-Executive Producer: GEORGE GEIGER Written by: SIBYL GARDNER Directed by: JOHN PATTERSON ========================== END CREDITS ========================== Sanders/Moses Productions NBC Studios NBC Enterprises Also Starring STEVEN RODRIGUEZ as Dan Kinsinger ALEXANDER ZALE as Sergei Mardigan with JACK FORBES as Pilot DAVID PIEVERS as Vanderhorn Security Guard Story Editor: BOB LOWRY Story Editor: JEAN GENNIS Story Editor: PHYLLIS MURPHY Casting: ANTHONY BARNAO Director of Photography: MICHAEL BONVILLAIN Production Designer: JONATHAN CARLSON Edited by: JON KOSLOWSKY, A.C.E. Main Title Theme: ANGELO BADALAMENTI Music by: JEFF RONA Unit Production Manager: ANTHONY SANTA CROCO First Assistant Director: DICK FEURY Second Assistant Director: JEFF KAY Costume Designer: TOM McKINLEY Coordinating Producer: LORIE ZERWECK Camera Operator: JAMIE MAXTONE-GRAHAM First Asst. Cameraman: BUTCH PIERSON Dolly Grip: RICK MAXEY Production Sound Mixer: KEN SEGAL / DAVID YAFFE 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: JOHN GRAY 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: VIVIAN BAKER Hair Stylist: LAURA DELUISA Production Accountant: KATHY RILEY Script Supervisor: JANEL F. REEVES Production Coordinator: MIKE HUBERT Assistant to Executive Producer: NICHELLE M. PROTHO Assistant to Co-Executive Producer: MADELINE BELL Assistant to Producer: KIMBERLY DICKENS Computer Graphics: PAUL LeBLANC Post Production Supervisor: LYNN STEVENSON Assistant Editor: J.J. ROGERS Video Insert Coordinator: CRAIG FELLER Post Production Coordinator: TINA TRIVAN 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:03/27/2004~lky http://www.webphilia.com/~anthology/wnp.html