PROFILER
1X16: FILM AT ELEVEN
ORIGINAL AIR DATE ON NBC: 03/08/1997
TRANSCRIBED FROM DVD
Written by: STEVE FEKE
Directed by: DAVID S. JACKSON
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: When video footage showing murders of acquitted criminals is received
at various television stations, the VCTF team is sent to New York to find the
vigilante before he kills his next victim. Meanwhile Grace learns she's having
a baby.
==========================
PROFILER
1X16: FILM AT ELEVEN
==========================
FADE IN.
(EXTREME CLOSE UP of an EYE looking through a hole. The light from the hole
reflects on the eye.)
(CARL WHITE walks out of a bar.)
HAL: You ok, now?
CARL WHITE: Yeah, no, the door was screwed up. You ought to have wider doors,
Hal.
HAL: Yeah. Take it easy.
(CARL WHITE gets into his car. He shuts the door and starts the engine.)
CARL WHITE: Get me home. Oh, boy.
(The engine revs and the car moves, tires screeching.)
(We see that there's a man sitting in his car watching CARL WHITE drive off
through the lens of a video camera.)
(He follows CARL WHITE, recording the moving car.)
(Through various cuts, CARL WHITE weaves through the streets driving drunkenly.)
(Suddenly, the car veers off the road and hits a trash can. The MAN driving
behind him also stops his car. He takes his camera off the passenger seat and
gets out of the car.)
(CARL WHITE opens his car door and drops his car keys.)
(The MAN continues to video record CARL WHITE. While his back is turned, he
hits CARL WHITE knocking him out.)
CARL WHITE: Uhh!
(He pushes CARL WHITE back into the driver's seat, opens a bottle of alcohol and
pours it on the passed-out drunk driver in the car and on the roof of the car.
He pours the liquid all over the car and stops at the gas tank. He opens the
gas tank. He flicks on a lighter and drops the lighter on CARL WHITE'S lap.)
(CARL WHITE screams as he burns. The flames reaches the bottle of alcohol on
the roof of the car, then reach the open gas tank. The flames immediately
engulf the gas tank and explodes. The car is consumed completely in flames.)
(Camera pushes into the KILLER'S eye where we see the car flames reflected.)
FADE TO
END OF TEASER
ROLL TITLE CREDITS
FADE IN
[INT. BAILEY'S RESIDENCE - NIGHT]
(BAILEY'S looking at ELLEN BEHAR; they're both lying on the floor.)
BAILEY: (recites) "I wonder, by my troth, what thou and I did till we loved --
if ever any beauty which I desired and got 'twas but a dream of thee." You
awake?
ELLEN BEHAR: I am when you talk like that. Who said it first?
BAILEY: Uh ... a poet, 16th century -- John Donne.
ELLEN BEHAR: A tender word's nice to hear. That's two reasons to like you.
BAILEY: What's the other one?
(She's quiet as her hand dives down to reach for him. He laughs and catches her
hand holding it in his. She studies his face for a moment.)
ELLEN BEHAR: What's wrong?
BAILEY: Nothing.
(She sits up.)
ELLEN BEHAR: You may know sweet words, but you're a lousy liar.
(He kisses her hand.)
BAILEY: My daughter Francis. She's 17, great kid. She had some problems --
little problems, teenage stuff -- and ... Well, now they're turning into bigger
problems. And daddy's a workaholic. Mommy's ... well ... the divorce was ugly,
and, uh, she didn't get a lot of things she should've. I think I'm losing her,
and she's losing herself. I don't want that.
(She stands up, grabs her jacket and heads for the door. She stops and turns
around.)
ELLEN BEHAR: Hmm. I feel like a hooker.
BAILEY: (surprised) What?
ELLEN BEHAR: Isn't that what men do with hookers? Tell them all their
problems?
BAILEY: I, uh ... I wouldn't know. I mean, men tell their problems to a lot of
people.
ELLEN BEHAR: Like who?
BAILEY: Well ... friends, for instance. Shrinks. Whoever's on the next bar
stool.
ELLEN BEHAR: Or in the next bed?
(BAILEY gets to his feet and walks over to her.)
BAILEY: Would you like me to change the subject?
ELLEN BEHAR: Uh-huh.
(She reaches for him and they kiss. Their kiss deepens. BAILEY'S pager beeps.
He ignores it and continues kissing her.)
CUT TO:
[EXT. FBI BUILDING (STOCK) - DAY]
[INT. FBI - BULLPEN TO COMMAND CENTER - DAY]
(SAM walks in and meets up with GRACE who is holding a tray with coffee mugs and
a plate of bagels.)
SAM: Hey, you.
GRACE: Hey.
SAM: Bailey paged me. Do you know what's up?
GRACE: Mm-mmm, I don't. I got pumpernickel, sesame, cream cheese, french
roast. I got the works.
(SAM takes a mug off the tray and takes a sip of it.)
SAM: Thank you. You're a doll.
(JOHN passes by them and reaches for a roll.)
JOHN: Ooh, yum, cholesterol heaven. Why is it that everything I like to eat is
terminal?
GRACE: Oh, well, maybe you should've been a sponge, you know? No heart, no
brains, no lungs, no nervous system, no locomotion, no means of self-defense,
you know, but they have survived for millions of years now.
(They reach the room. GRACE puts the tray of treats on the table. JOHN
immediately smothers the bagels with cream cheese.)
JOHN: Sounds like permanent bliss to me.
SAM: Or boredom.
(GRACE steps back and watches them. SAM notices that GRACE hasn't reached for
anything to eat.)
SAM: You're not eating?
GRACE: No, I've been queasy this morning, you know? I got up at 4:00 two
nights in a row now.
SAM: You ok?
GRACE: Eh, it's probably just the flu, you know?
JOHN: So ... where is Herr Lord and Master?
(BAILEY walks in to the room behind JOHN. He motions for the others to be
silent.)
BAILEY: On the way to the command center.
(At the sound of BAILEY'S voice, JOHN freezes.)
BAILEY: Bring your bagels.
(BAILEY turns and leaves.)
JOHN: (busted) Check, please.
GRACE: (smiles) See you.
SAM: Mm-hmm.
(SAM and JOHN head to the Command Center. GRACE picks up her mug and heads for
her lab.)
CUT TO:
[INT. FBI -- COMMAND CENTER - DAY -- CONTINUOUS]
(BAILEY sits at the edge of the table waiting for the rest of the team. JOHN
and SAM step into the room and quickly take their seats at the table.)
BAILEY: We've got a self-appointed executioner working in upstate New York.
Two local tv stations -- one in Niagara Falls, the other in Syracuse -- received
videocassettes, portions of their own broadcasts. At first, no one thought
anything about it. Syracuse, five days ago.
(BAILEY flips the monitor on and the video rolls.)
NEWS ANCHOR (WOMAN): The jury in the trial of accused serial rapist Craig
Gentry returned a verdict of not guilty. Gentry, the 34-year-old unemployed
construction worker from Onondaga had been charged with the rapes of five
Syracuse women. DNA evidence introduced by the prosecution was judged to be
inconclusive. In Jamesville ...
BAILEY: (interrupts) They received this next piece last night.
(Suddenly, the monitor breaks and "PART 2" written on a piece of paper appears
on the screen.)
BAILEY: He seems to have a pattern: First, the newscast, then, his own tape.
SAM: And where'd they get it?
BAILEY: U.S. Mail. Point of origin is a local box in New York City. We're
checking.
(The home video shows footage from a car passing by a road sign that reads:
WELCOME TO ONONDAGA
POP 11,323 ELEV 1,243 )
(The video cuts to a house's exterior.)
BAILEY: That's the victim's house, rented it for three years.
(The video cuts to the back of a silver pick up, then to a man walking.)
(BAILEY sits down at the table.)
BAILEY: That's Gentry.
(There are various cuts of CRAIG GENTRY.)
SAM: He's stalking him.
BAILEY: Like a rapist might stalk a victim.
SAM: When do we get enhanced video?
BAILEY: We'll have digitals by tonight.
(The video continues. CRAIG GENTRY pulls up into his garage in his pick up. He
gets out of the truck and slams the door shut. The INTRUDER walks up to him and
sprays pepper spray in his face.)
CRAIG GENTRY: (from video) Hey, what the hell--hey! Aah! Aah!
(JOHN looks at BAILEY.)
JOHN: Mace?
BAILEY: The preliminary autopsy said pepper spray.
(On video, CRAIG GENTRY writhes on the floor in pain.)
(Video cuts and we see CRAIG GENTRY naked and tied to a bed.)
CRAIG GENTRY: (from video) (panting) What are you doing? I don't know who
you are. Listen, I got some money in the basement.
(The INTRUDER flicks open a knife in front of the camera.)
CRAIG GENTRY: (from video) (panting) Come on, man. At least let me know what
this is all about.
(The INTRUDCER waves the knife around and moves in toward him.)
CRAIG GENTRY: (from video) No! Aah!
(There's a cutting sound.)
CRAIG GENTRY: (from video) No! God!
(On video, CRAIG GENTRY is out cold on the bed.)
KILLER: (altered voice) (v.o.) Stigma and retribution, that's what it's
about. Put this on your news instead of your inane false moralizing. Let
people see and hear shame and discipline -- expressive functions -- rather than
bleeding-heart editorials and inconclusive evidence. The crime: Rape. The
verdict: Guilty. The sentence: Appropriate.
(The video fades out.)
BAILEY: He was castrated, then bled to death. We're reprocessing the voice, so
we can remove the distortion. Now we have Niagara Falls, two weeks ago.
(BAILEY turns on another video of another news report.)
ROBERT JESSMAN (NEW ANCHORMAN): In other news, Carl White was released today
after the jury reached no verdict in his trial for vehicular manslaughter in the
deaths last April of Betty Carmodie and her two infant children. The defense
claims that blood analysis tests were compromised. The family died in a fiery
crash on Fulham Road, and the case has outraged many in Niagara Falls.
BAILEY: They got this three days later.
(He flips on the remote to another video that shows: PART 2.)
(On the monitor, the video footage of the events shown in the teaser are played
out. CARL WHITE gets into his car.)
CARL WHITE: Get me home.
(Drunk, CARL WHITE drives off. Various cuts of video footage of CARL WHITE
driving drunk and weaving along the road.)
(He finally crashes off the side of the road.)
(Cut to: The KILLER flicks on the lighter and tosses it on CARL WHITE'S
alcohol-drenched clothes. The car burns.)
KILLER: (altered voice) (v.o.) Broadcast this on the news. Show people they
may slip through the cracks in the justice system, but you can't get away with
murder. Law is either condoned or abused. For those who abuse the law,
punishment should be an expressive function. The crime: Drunk driving. The
verdict: Guilty. The sentence ... doesn't hold a candle to the shame.
(The video fades out.)
BAILEY: We're dissecting the cassettes and checking on the camera he's using.
JOHN: Are these the only two incidents?
BAILEY: The only two we know about. There's no witnesses, no prints, no
visible connection to the victims.
SAM: I don't think there will be. Vigilantes are usually driven by personal
revenge, but this guy is different. He wants revenge against the system. The
newscasts are his way of saying "this is how the system works," and his own
tapes reflect the way he feels that it should work. He taped the crime very
carefully. He knows that if it's too graphic, they won't show the public.
BAILEY: Well, so far, the stations are keeping quiet, but that's not going to
last long.
JOHN: If it's somebody who thinks the court system is screwed up, it's a --
it's a long list.
SAM: Bailey, I want to get transcripts of his words. He's gone to a lot of
trouble to send society a message.
BAILEY: John, would you coordinate travel to New York? You and Sam need to be
on a plane later today.
(JOHN gathers his things, stands up and leaves.)
BAILEY: Sam, we don't have anything new on Jack, but I'm putting extra security
on Chloe and Angel. Also, St. Angela's children's home. You okay with that?
SAM: Yeah.
BAILEY: What are you thinking?
SAM: That he's probably not very far away.
CUT TO:
[EXT. ST. ANGELA'S CHILDREN'S HOME - GARDEN - DAY]
(A camera from high up pointing downward snaps photos of SAM with SISTER MARY
walking through the garden.)
SISTER MARY: It's hard to believe that a man of such evil could have made such
beautiful roses.
SAM: Well, good and evil -- sometimes it's hard to see the difference.
SISTER MARY: Mm-hmm. Yes, I had more contact day-to-day with him than anyone,
even Sister Agnes. What I find so frightening is that a person like Carruthers
-- that Jack, as you call him -- was living with us, and we never knew it.
SAM: Well, he needed a place where he thought that no one would ever look for
him. Sister Mary, is there anything else you can tell me about Carruthers,
something that you might've forgotten to tell me already?
SISTER MARY: No, your questions were pretty thorough.
SAM: Well, sometimes the smallest, most insignificant detail can trigger a
memory -- I mean, something about the roses or something he said. Anything,
anything at all.
SISTER MARY: He did say something about the roses once. He said, "It takes a
lot of time to make a rose."
(She reaches over to the bush and cuts a single red rose off.)
(Various overlays of JACK with red roses in his place.)
SISTER MARY: Well ... he was willing to make the time. Can something like that
help you to find a man like Jack?
SAM: (nods) It confirms what I already know about him, that he's determined
and patient. Yes.
SISTER MARY: Ah ... I don't know how it is that you do what you do, but ...
maybe it's the old testament teaching in me. I am glad you're doing it.
(She hands the rose to SAM. SAM takes the rose. The camera shutter clicks as
several more photos are taken of the two women.)
SAM: Well, thank you, Sister. The feeling is mutual.
(SAM reaches into her bag for a business card.)
SAM: Listen, if you do remember anything else, please feel free to call me.
(She hands SISTER MARY the card.)
SISTER MARY: Yes.
SAM: Thank you, sister.
(SAM leaves.)
CUT TO:
[JACK'S PLACE]
(JACK takes a sip from his wine glass.)
(Various cuts of the following: He unrolls the film. He wipes a pair of silver
scissors clean. He uses the scissors to cut the film. He attaches his camera
lens to the camera and snaps more photos of SAM's smiling face.)
(When done, he picks up the photo and looks at it. He caresses the picture and
kisses the PHOTO SAM'S lips.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[A HELICOPTER LANDS]
LEGEND:
NIAGARA FALLS, NEW YORK
[EXT SIDE OF THE ROAD -- DAY]
(SAM and JOHN talk with the OFFICER.)
OFFICER: We figured the camera was here. The guy must've parked out on the
hardtop. The only tire tracks we found were White's.
JOHN: No footprints?
(The OFFICER shakes his head.)
JOHN: Was White well-known?
OFFICER: He was to us. He had multiple DUIs. We figured he'd smack up one day
and maybe kill some innocent people. The shame's that he walked out of court.
(Quick flash of: The burning car.)
SAM: Well, the killer agrees with you. He said the sentence couldn't hold a
candle to the shame and he's talking about the shame of the court that didn't
convict. So he wants everybody who sees that tape to see, hear, and feel
exactly what that crash was like, so that they can feel that shame.
OFFICER: Well, he sure wanted White to feel it.
SAM: Yeah.
OFFICER: Excuse me.
JOHN: Thanks.
(The OFFICER leaves. JOHN and SAM slowly walk down the road.)
JOHN: I understand where he's coming from.
SAM: Frustration.
JOHN: Yeah, you go through all that crap cops go through.
SAM: What made you go through it?
JOHN: Why was I a cop?
SAM: Yeah.
JOHN: I figured I could make a difference, help some people, and I was damn
good at it.
SAM: You think that a cop could've killed white?
JOHN: Could have, sure. I hope not.
SAM: It's got to be somebody who's a part of the system, but feels alienated
from it.
JOHN: Kind of like a love affair.
SAM: What?
JOHN: I--I read this article in scientific something or other. It said when two
people are in love, I mean, really in love, the emotion burns up everything
between them, until, sometimes-sometimes there's nothing left.
SAM: Wait a minute. So, love turns to nothing?
JOHN: Or worse. It's like -- it's like, if you're a part of something, and you
love it, and it doesn't work out, all that emotion can turn into alienation.
(SAM nods.)
JOHN: I figure maybe friendship is better. You get all the pluses, and you
don't get burned.
SAM: You settle for half the meal.
(SAM turns and walks to the car. JOHN considers it for half a beat, nods, then
rushes to catch up with her.)
SAM: How far to Onondaga?
JOHN: Oh, about two appetizers and an entree.
CUT TO:
[INT. CRAIG GENTRY'S RESIDENCE - LIVING ROOM -- DAY
LEGEND:
ONONDAGA, NEW YORK
(The OFFICER pulls the plastic sheeting off of the bed.)
OFFICER: We found him right there. He was down about three quarts, also
missing his privates.
(Quick flash of: CRAIG GENTRY tied to his bed. The KILLER opens the knife.)
SAM: Were any of these rape victims tied to their own beds?
OFFICER: They all were.
(SAM nods. She expected it.)
SAM: The killer likes symbolism and symmetry.
JOHN: No forced entry, signs of a struggle?
OFFICER: Whoever did Gentry had a good plan.
SAM: Well, he knew how to make his point.
OFFICER: What's that? That the son of a bitch was guilty?
SAM: That people didn't have enough feeling for the crime. What rape is -- the
humiliation, the degradation.
OFFICER: People don't.
(JOHN takes out his pen to make a note. SAM nods.)
SAM: Yeah. Thank you.
CUT TO:
[VIDEO]
(CRAIG GENTRY is tied to the bed.)
CRAIG GENTRY: I don't know who you are. Listen, I got some money in the
basement.
[INT. FBI - COMMAND CENTER]
(SAM and JOHN re-watch the video.)
CRAIG GENTRY: Come on, man. At least let me know what this is all about. Aah!
SAM: He's very well-prepared, thinks through all the angles.
JOHN: He didn't take the money. There was eight hundred bucks.
SAM: It isn't about money. It's about punishment and punishment fitting the
crime. Gentry took a long time to bleed to death. Rape victims suffer for a
very long time. White burned in seconds, just like the family in the car crash.
JOHN: An eye for an eye. Maybe we're looking for a rabbi.
(Cut to: CRAIG GENTRY dead or unconscious on the bed.)
SAM: It's like an old testament lesson.
(BAILEY walks into the room.)
BAILEY: The techies pulled a reflection off a window from a car in Niagara
Falls.
(He grabs the remote and puts the image up on the monitor. It's the image of a
person video taping the fire as CARL WHITE burns in the car. The glass
shatters.)
(BAILEY puts the remote down.)
(The video continues.)
KILLER: (v.o.) For those who abuse the law, punishment should be an expressive
function.
CUT TO:
[HAND-MONITOR]
(The video is being played on a smaller hand-monitor. The voice on the video is
normal-sounding male voice, unaltered.)
KILLER: (unaltered) The crime: Drunk driving. The verdict: Guilty. The
sentence ... doesn't hold a candle to the--
[INT. FBI - BULLPEN]
(SAM watches the video on the hand-held monitor. JOHN walks over.)
SAM: Hey. Anything?
(JOHN takes a seat at the table next to SAM.)
JOHN: Yeah, we I.D.'d the camera. It's a pretty expensive little toy. It's a
high-8 model. It costs about 2,000 bucks.
SAM: What about the cassettes?
JOHN: Well, based on the lot numbers, they were all purchased at a discount
store in New York City.
SAM: All right, listen to this. We cleaned up the distortion now. There.
(She rewinds the tape.)
KILLER: (from video) Show people they may slip through the cracks in the
justice system, but you can't get away with murder.
SAM: Hey, hear the part about murder?
(She replays that section over again.)
KILLER: (from video) But you can't get away with murder.
SAM: Broad vowels, very nasal -- it's obviously east coast. Sounds like New
York.
JOHN: Or New Jersey. You still think it's cop?
SAM: Well, the way he ends his statements on the tapes, it's almost like a
judge. It could all be an act, but -- I don't know, he wants to take it public,
so he's sophisticated. I mean, revenge against a single person is easy, but
revenge against an entire system requires a certain amount of sophistication.
JOHN: So, somebody inside the justice system?
SAM: Well, maybe it's like you said. Somebody had a love affair, got burned,
and the love turned to alienation.
JOHN: Violent alienation.
SAM: Well, lovers kill each other all the time.
BAILEY: (interrupts) You don't have to be in love.
(They look up and find BAILEY standing just near them.)
BAILEY: We've got another one, this time from Albany.
(He motions for them to follow him. They make their way to the COMMAND CENTER.)
BAILEY: He's an alleged dealer, William Andersohl, sprung on a fourth amendment
technicality.
(As soon as they step into the room, BAILEY turns the monitor on. They take
their seats at the table.)
NEWS ANCHOR (WOMAN): (from video) In criminal court today, the case against
alleged drug dealer William Andersohl was thrown out. Judge Marian Shepard
ruled the search and seizure of Andersohl's van was illegal. Andersohl was
suspected of selling black heroin to the son of Albany city Alderman Jerry
Sherman. Sherman's 17-year-old son died of an overdose after describing
Andersohl and the van to some friends.
JOHN: Drunk driving, rape, drugs-- this guy's covering all bases.
(PART 2 of the video starts. The KILLER video tapes WILLAM ANDERSOHL.)
BAILEY: That's Andersohl. The building's on an alleyway off western avenue in
downtown, Albany's version of needle park. Uh, forensics found a cement block.
Debris in the wound and the blood matched.
(On the video, the KILLER drops a cement block on the victim from above.)
JOHN: He killed him with a cement block?
BAILEY: No, this is the murder weapon, speedball cocktail laced with black
heroin.
(On the video, the KILLER has a syringe in his hand. As he speaks, WILLIAM
ANDERSOHL writhes on the ground, his shirt open.)
KILLER: (v.o.) The fourth amendment was never intended to shield the guilty.
It's a perversion when it does. Do the right thing. Put this justice on the
air. The crime: Drugs. The verdict: Guilty. The sentence: The ultimate
high.
BAILEY: The ultimate high lasted less than a minute. Again, no prints, no
hair, nothing.
(The video fades out.)
SAM: Except for what he wants us to see -- the humiliation, the punishment, the
shame of the victim.
BAILEY: About as subtle as the gas chamber.
SAM: He's got a lot of rage, but he's very controlled, very precise. I mean,
look at the way he edits the tapes -- all the right close-ups in all the right
places.
(Quick flashes of: The bottle of alcohol, the car explosion, the pepper spray
in CRAIG GENTRY'S face, the camera, CRAIG GENTRY tied to the bed, WILLIAM
ANDERSOHL on the alley ground.)
SAM: He's taking us exactly where he wants us to go. And--and the legal
jargon, the phrasing -- the intention of the fourth amendment, "Do the right
thing." The tapes are like a brief, like a visual brief for the jury. It's
like he's trying to get them to see his point of view.
BAILEY: A prosecutor who's become judge and executioner?
JOHN: I know a couple of dozen who'd like to.
SAM: We should get a list of all the prosecutors in New York, especially those
who endorse the death penalty.
JOHN: This guy has time to travel. Maybe he is retired.
SAM: Or disbarred. Actual juries wouldn't listen to his case, so now he's
taking it to a higher court -- the public.
BAILEY: Yeah, well, it's not going to get to the public. There's no way we're
allowing these to be broadcast.
JOHN: He's going to find a way.
BAILEY: Well, that's why we have to find him first.
SAM: We should get these transcripts to the law schools. Maybe one of the
professors can recognize the phrasing, the philosophy.
BAILEY: Like we did with the unabomber's manifesto. Ok, I'll get the ram-
jammers on the list. You two get to Albany. I'll have to stay here and
coordinate, in case we get more tapes.
(SAM and JOHN nod as BAILEY gets to his feet to leave.)
SAM/JOHN: Yeah.
(SAM stops BAILEY.)
SAM: Hey, Bailey, where's Grace?
BAILEY: We sent her home. She was feeling a little rocky.
SAM: Huh. Okay.
(BAILEY turns and leaves the room.)
SAM: (to JOHN) You ready?
CUT TO:
[EXT. PARK -- DAY]
(GRACE and MORGAN walk their dog in the park.)
MORGAN ALVAREZ: You ok?
GRACE: Yeah. Mm-hmm.
MORGAN ALVAREZ: Fisher said there'd be some days like this.
GRACE: Fisher's a doctor. He doesn't know anything.
MORGAN ALVAREZ: You're a doctor.
GRACE: Same problem.
MORGAN ALVAREZ: We love you, even if you don't know anything.
GRACE: When all the geniuses tell you that something can't happen, that it is
not possible, I cannot help but worry.
MORGAN ALVAREZ: Well, geniuses aren't what they used to be. There are no
Leonardo da Vinci's smelling today's roses.
GRACE: Morgan ... every test I took over the last three years came out
negative.
MORGAN ALVAREZ: Grace, you try to make sense out of life, you'll drive yourself
crazy. Tests are wrong sometimes, thank god.
GRACE: Well, I don't want anything to go wrong. I want it to be perfect, and I
don't want to tell anyone until we know that it will be. I mean, you know how
many cases--
MORGAN ALVAREZ: Grace.
GRACE: No, no, I mean good things, like women who were told that they could
never get pregnant, so they adopted, and after they adopted, they got pregnant.
It does. It happens all the time.
MORGAN ALVAREZ: Like we said, doctors don't know anything. You listen to me.
We're going to have this baby, and it's going to be beautiful.
(He kisses her.)
MORGAN ALVAREZ: Accountants know everything.
GRACE: Oh!
MORGAN ALVAREZ: (to the dog) Did you hear that, fuzzy? Not about the
accountants, though. You're going to have a new playmate. (laughs) Trust me.
CUT TO:
[EXT. NEW YORK CITY (STOCK) - DAY]
LEGEND:
ALBANY, NEW YORK
[EXT. ALLEYWAY - DAY]
(The DETECTIVE shows JOHN and SAM the alleyway.)
DETECTIVE: Andersohl was a wannabe ... a street dealer. Never really cut it
with the big boys.
JOHN: Was he carrying when he showed up here?
DETECTIVE: Couple of nickel bags.
(SAM looks up as they walk through the alley. She has a quick flash of the
KILLER dropping the concrete block on ANDERSOHL as he walks through the alley.
End of flash.)
DETECTIVE: Figured it was just another deal that went south until we saw the
tape.
(They reach the end of the alley where the chalk outline is on the ground.)
(Quick flash of ANDERSOHL on the ground. End of flash.)
SAM: Uh, he must've come here with a purpose. Maybe the killer contacted him.
Maybe he knew Andersohl.
DETECTIVE: Everybody knew Billy Andersohl.
SAM: Have you looked at his phone records?
DETECTIVE: I practically have them memorized. This kind of stuff was always
from pay phones.
(Quick flash of: WILLIAM ANDERSOHL writhing on the ground in pain. End of
flash.)
DETECTIVE: Yeah, I busted Andersohl twice once in one night.
JOHN: He got out the same night?
DETECTIVE: It's a hand slap, unless you can get the guy to cop a confession.
JOHN: Doesn't sound like Billy was too smart.
DETECTIVE: Guys who sell dope, like guys that rob gas stations, are not exactly
society's bright lights. Now, my opinion, if I wanted to start killing dealers,
I'd go higher up the food chain.
SAM: Oh, he isn't interested in the top dog. He killed Andersohl because he
represents a part of the system that didn't work.
DETECTIVE: I don't know. Seems like Billy got due process to me.
(SAM nods and doesn't say anything. In the distance, someone calls for the
DETECTIVE.)
OFFICER: (shouts) Detective!
SAM: You'll get us those phone records?
DETECTIVE: If you want 'em. Excuse me. Just a minute, please.
(The DETECTIVE leaves.)
SAM: Is it me, or do you get the feeling that none of the cops working these
three murders are working overtime?
JOHN: I can't blame them. I didn't say it was right, but I know how they feel.
SAM: Yeah.
(Having seen enough, SAM and JOHN leave the alley.)
CUT TO:
[INT. FBI - COMMAND CENTER - DAY]
(On the monitor, another video is playing. This one of a woman running on a
track.)
SAM: This tape just showed up from a tv station in new york city. He's changed
his pattern.
BAILEY: How?
SAM: You'll see. His reasoning's pretty clear.
(The video focuses in on a woman on the track.)
KILLER: (v.o.) (altered voice) News media, why aren't you listening? Are you
as deaf and blind as the courts? You've failed to take an opportunity to right
wrongs, to show people there is a way to help justice prevail. Your failure
leaves me no choice. In your eyes, this woman is innocent, but her crime is
worse than those of the others. If you don't do the right thing, I will.
(The video fades out.)
(The message is clear. Camera moves from JOHN to SAM to BAILEY'S reactions.)
FADE OUT.
FADE IN.
[INT. FBI - COMMAND CENTER - DAY]
(They watch the video of the woman running. SAM stands in front of the large
wall monitor while JOHN looks at the monitor near BAILEY.)
BAILEY: Now the son of a bitch is gonna kill innocent people.
JOHN: Technically, he already has.
BAILEY: Doesn't justify giving him a public forum.
JOHN: If we did release part of the tape, maybe somebody would recognize his
voice.
BAILEY: And then fifty other nutballs will start to copycat. No way.
SAM: He changed his M.O. because he's angry. Maybe he'll make a mistake.
BAILEY: It's gonna lead to this woman's murder if we don't find out who she is.
Let's try to narrow it down.
SAM: Oh, well, she's been coached. Look at her arms, the way she holds her
head. She checks her watch at regular intervals. She's, uh ... not a jogger.
She's more like a runner, a distance runner.
BAILEY: A woman in training.
SAM: And she's in terrific shape, which means she works out, so somebody
must've seen her.
BAILEY: We'll need to locate every all-weather track in the city.
JOHN: You know, from the light, it looks like this tape was shot just after
dawn.
SAM: So she's dedicated. Probably knows her own self-worth. Probably also a
loner. Distance runners usually are. And look at her clothes, no fashion logo.
She dresses for a purpose over style.
JOHN: We'll get some stills.
SAM: Yeah.
BAILEY: A runner in her twenties who went on trial for a violent crime in New
York City and got off. Big haystack.
SAM: He said that her crime was worse than the others. The question is, what's
worse in his mind?
(BAILEY and JOHN are silent as they consider the question.)
SAM: All right. This tape made it to the tv station in time for the 7:00 news,
but they didn't run it.
BAILEY: He'll act fast.
SAM: He's done a lot of work, and he hasn't gotten the attention he wants.
CUT TO:
[EXT. NEW YORK CITY (STOCK) - DAY]
LEGEND:
NEW YORK CITY
[EXT. POLICE DEPARTMENT - DAY]
[INT. POLICE DEPARTMENT - BULLPEN - DAY]
(BEN FERRARINI walks with purpose into the office. SAM and JOHN are already
there along with the other officers.)
BEN FERRARINI: Nice to meet you, FBI. My name is Ben Ferrarini. Anybody want
coffee?
SAM: No, thank you.
JOHN: Uh ... decaf?
BEN FERRARINI: I don't allow it in homicide. You can probably find some down
in vice.
(BAILEY walks into the office. BEN FERRARINI looks up and sees BAILEY.)
BEN FERRARINI: You Sam Waters?
BAILEY: No, I'm Bailey Malone. This is Dr. Sam Waters.
SAM: How do you do?
JOHN: I'm John Grant.
BEN FERRARINI: Interesting case.
SAM: Yeah? Why is that?
BEN FERRARINI: The guy's getting to the heart of an important matter. We risk
our butts to nail the sickos. Judges and juries open the doors and let 'em out.
Pisses me off.
SAM: Yes, well, I don't think vigilantism is the answer.
BEN FERRARINI: I didn't say he was taking the best route. But he could win a
public service award in this building.
SAM: Is that how you feel?
BEN FERRARINI: All the children of my imagination do not have equal stature.
SAM: Well, where exactly do cold-blooded killers fall?
BEN FERRARINI: About one notch above lawyers.
SAM: Mmm. Well. I've got the feeling that our guy may be both.
BEN FERRARINI: Uh, lawyers practice relativism, especially with respect to
morality. Personally, I think that stinks.
SAM: You one of those cops who thinks he'd make a better arbiter of morality?
BEN FERRARINI: I'd be, uh ... appalling. That's why we need lawyers. (He
laughs.)
BAILEY: Detective, his next victim is an innocent woman. We need to find her.
BEN FERRARINI: Yeah. Well ... nobody's innocent. And I don't know who the
hell she is. But I looked at your tapes. I found the track. It's at a college
in Brooklyn.
(He writes the address down and hands it to BAILEY. SAM looks at BEN FERRARINI
who tips his imaginary hat to her.)
CUT TO:
[SIDEWALK - NIGHT]
(BAILEY, SAM and JOHN walk along the sidewalk.)
BAILEY: Someone once said the reason they built the subway to Brooklyn was so
that people who live there could get home without being seen. (He laughs.) I
love New York. It's full of paranoids and people like Farrarini - Farinni -
whatever the hell is name is.
JOHN: What's wrong with being paranoid?
SAM: Did anybody call Grace?
BAILEY: Morgan's taking her to the doctor. They're gonna run some tests.
SAM: But she's never sick.
BAILEY: Well, sometimes I think the whole world is sick. The problem is trying
to get well.
JOHN: Did you get any sleep last night?
BAILEY: I'll sleep when we get this jerk.
SAM: If he is a lawyer, what is it about her crime that makes it worse than the
others?
JOHN: Maybe she lied on the witness stand.
BAILEY: Wouldn't cooperate?
JOHN: Lawyers hate hostile witnesses.
SAM: No. He's too smart. I don't get the feeling he'd let anybody on the stand
that he wasn't sure of.
(They get into their car.)
CUT TO:
[EXT. BROOKLYN COLLEGE TRACK - MORNING]
(A whistle blows in the distance.)
(BAILEY looks a the video stills of the running track. He sighs.)
BAILEY: Almost anywhere we could've seen the city. He picked a track where he
could hide it.
SAM: He knew we'd find this track. He knows we're looking for her.
(SAM watches as an ATHLETE throws the shot put.)
ATHLETE: Hunhh!
(She's more interested in the coach he's with. She nudges BAILEY and they both
head in that direction.)
SAM: Bailey.
(Meanwhile, JOHN is asking others on the field if they've seen the WOMAN in the
photos.)
JOHN: So, have you seen this girl?
(He points.)
ATHLETE 2: Ask her coach.
(The COACH identifies her immediately.)
COACH: Ashley Bernarding. Her braids are a dead giveaway. She almost made the
'96 olympics, 5,000 meters.
(BAILEY is dialing on his cell.)
BAILEY: Is Bernarding her married name?
COACH: I don't think she's married.
SAM: Was she here this morning?
COACH: I don't know. What's the matter?
BAILEY: What can you tell us about her habits, routines?
COACH: She does track workouts maybe twice a week.
BAILEY: (to phone) Give me the listings you have for an Ashley Bernarding.
COACH: I try to get some of the students to watch, you know? How often do you
get a chance to see world class right up close?
SAM: Do you know if Ms. Bernarding has been in the news lately?
COACH: (to SAM) I know she missed the milrose games. I don't know why.
BAILEY: (to phone) Any of them in Brooklyn?
COACH: (to SAM) She's kind of a loner. A lot of distance runners are like
that.
BAILEY: (to phone) 637 Cantwell Boulevard, number 102. Meet you there. (He
hangs up and turns to SAM.) Four listings for Ashley Bernarding. Only one in
Brooklyn.
(BAILEY turns to leave. She shouts over to JOHN who is still talking with the
TWO ATHLETES and with an OFFICER.)
BAILEY: John!
JOHN: Excuse me.
(JOHN leaves the group.)
COACH: (to SAM) She in some kind of trouble?
SAM: Well, we hope not. Thank you very much.
COACH: Sure.
CUT TO:
[EXT. STREET - DAY]
(The police cars speed through the streets, their sirens blaring. When they
reach the building, tires screech as they come to a stop. BEN FERRARINI, JOHN,
BAILEY and SAM along with other OFFICERS exit the cars and rush toward the
building.)
[INT. BUILDING - HALLWAY -- DAY]
(BEN FERRARINI walks through the hallway and motions for a student to be quiet
as they make their way to ASHLEY BERNARDING'S room.)
(BEN FERRARINI takes his gun out. JOHN covers him. BAILEY stands on the side
and calls out.)
BAILEY: Miss Bernarding.
(BEN FERRARINI kicks the door in. They enter and check the room out.)
BEN FERRARINI: Clear!
BAILEY: He's got her.
JOHN: We need a floor-to-floor search! They may still be in the building!
COP: Pauly, you're with me. Upstairs.
(SAM walks into the kitchen and turns the stove off.)
SAM: This doesn't fit. He didn't take the others anywhere, so why her?
(BAILEY also walks into the kitchen. SAM turns and sees the blood drops on the
counter top.)
SAM: Bailey.
BAILEY: Maybe he killed her here and took the body someplace else.
(Quick flash of: [KITCHEN] The KILLER comes up to ASHLEY BERNARDING. She
turns around and weilds a knife. She swings, attacking him back. End of
flash.)
SAM: No, this is different.
(SAM looks around.)
SAM: She may still be alive.
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. BERNARDING BUILDING - DAY]
[INT. BERNARDING APARTMENT -- DAY]
(BEN FERRARINI is on the phone.)
BEN FERRARINI: Tell them that if they hear from her, I want to know about it
A.S.A.P. (He hangs up.) She works part-time for the canarsie beach harriers.
It's a running club over on Hargrove. They haven't heard from her, but they
don't expect to till monday.
SAM: Anything from the court records?
BEN FERRARINI: No defendant with the name Ashley Bernarding. So far, they've
checked back two years.
JOHN: None of the neighbors on this floor saw or heard anything.
BAILEY: What about upstairs?
JOHN: We're still checking. Anything here?
BAILEY: Nothing that'll help us. Just rent and groceries, stuff like that.
JOHN: I'll stay on it.
(JOHN turns and leaves.)
SAM: What about her car?
BAILEY: She doesn't have one.
SAM: Well, if she's walking everyplace, maybe -
BEN FERRARINI: Cabs, bus, train -- I got 16 men working a 10-block radius.
It's a long shot.
SAM: She keeps trophies in a cardboard box in the closet. She's very self-
assured.
BAILEY: Maybe she just doesn't care about them.
SAM: No, she cares. This is her workout diary. Over a hundred pages. She
just isn't showy. She's good, and she knows it.
(Quick flash to: The other deaths including the car exploding, CRAIG GENTRY
tied to the bed and WILLIAM ANDERSOHL on the alley ground. AHSLEY BERNARDING
runs on the track in lane 4. End of flash.)
SAM: Question is, what did she do to deserve being victim number 4?
(JOHN walks into the room carrying his phone.)
JOHN: We got something. A law professor at Peterson Law School called about
the transcripts.
(BEN FERRARINI snaps his fingers.)
BEN FERRARINI: Let's go.
CUT TO:
[INT. PETERSON LAW SCHOOL - DAY]
(SAM and BAILEY interview PROF. BELLO.)
PROF. BELLO: I admit when I first read these, I was a little bit upset. I
mean, your organization and I have rarely been on the same side of the bench.
BAILEY: Well, that's a fair assessment.
PROF. BELLO: The notion of actually aiding and abetting the FBI ... it's a
little bit like deciding to vote republican. On the other side, I would vote
for Orrin Hatch before I'd openly condone homicide.
BAILEY: Well, that's good to know. How can you help us, Professor Bello?
PROF. BELLO: Well ... the words that first caught my eye were, "Law is either
condoned or abused." I use that phrase in practically every lecture I give.
But what really rang my bell is, "Punishment should be an expressive function."
Now Jung believes that reputational shame is an expressive function.
Humiliation. Public execution. Shaming the transgressor. It goes back to the
time of the pilgrims -- stocks in the public square and so forth, although I
doubt it would work today. I don't think we have much of a sense of shame in
our society.
BAILEY: Well, we agree on something.
SAM: Professor Bello, do you recognize this voice?
(SAM plays the recording.)
KILLER: (unaltered voice from tape) You've failed to take an opportunity to
right wrongs, to show people there is a way to help justice prevail.
(She turns the tape off. He shakes his head.)
PROF. BELLO: No. Not the voice, no. The ideas, the thinking ... I had a
student a few years ago in philosophy of law. That's where I use some of Jung's
writings. He was a 5-timer. He took five times to pass the New York state bar.
But he finally made it. He became a prosecutor. He believed very strongly in
the death penalty, but he wanted it public. He wrote several papers about it.
BAILEY: Do you remember his name?
PROF. BELLO: No. I had to look it up. It's amazing what age does to, uh,
temper one's memory. Michael Gillette. Michael wanted to execute everybody.
Of course, I've felt the same way myself a few times. But that hardly gets to
the root of the issue.
SAM: Professor, in the mind of someone like Michael Gillette, what is the worst
crime that a person could commit?
PROF. BELLO: Probably, uh ... disagreeing with him.
SAM: Mmm.
BAILEY: Thank you, Professor Bello.
CUT TO:
[INT. POLICE DEPARTMENT - BULLPEN - DAY]
(BEN FERRARINI looks up when SAM and BAILEY walk into the room.)
BEN FERRARINI: Michael Gillette did not exactly make the District Attorney's
office proud. He was disbarred three years ago.
SAM: Why?
BEN FERRARINI: Oh, jury tampering, threatening witnesses, bribes, among other
allegations.
SAM: What was the case?
BEN FERRARINI: A woman named Maria Esperitto tried to murder her husband up in
spanish harlem. Uh, she said that he beat her and was abusive, so she shot him
in his sleep and claimed self-defense. (He turns to look back at JOHN.) He
lived.
JOHN: Pretty violent alienation.
BAILEY: It's getting to be the norm. She might be justified, but it doesn't
sound like self-defense.
SAM: Well, that depends on how scared she was. It says here she had witnesses
who'd seen him hit her in public.
BAILEY: Any of them named Ashley Bernarding?
BEN FERRARINI: She was one of the jurors.
BAILEY: So what happened?
BEN FERRARINI: Gillette argued it was just an excuse to commit murder. The
jury almost believed him, but couldn't reach a verdict, so the judge sent them
back to deliberate half a dozen times. Ultimately, they hung.
BAILEY: And Gillette tried to bribe them.
BEN FERRARINI: Them, the witnesses, everybody. Got him disbarred. Now--now,
here's the irony. The woman walked, right? So the first thing she did was go
find her husband in the shower and stabbed him 76 times.
BAILEY: So he's got it in for Bernarding because she didn't convict in the
first place. Where's this guy Gillette now?
BEN FERRARINI: I got a "last known" on him in Long Island City.
BAILEY: Let's go.
CUT TO:
[EXT. STREET - DAY]
(Police cars speed through the streets.)
(The cars stop. BEN FERRARINI exits the car and issues orders.)
BEN FERRARINI: Sergeant Bouchard, you're with the FBI. Messina, you're with
me!
BAILEY: Position the troops. Keep 'em calm. Even he deserves due process.
JOHN: All right. Ok, I'll a squad around the back and converge with you.
(JOHN turns to leave.)
BAILEY: (to JOHN) Good. (to SAM) What are you thinking?
SAM: He knew we'd get here. He led us, the same way he did when he edited the
tapes.
BAILEY: Like you lead a witness.
SAM: But you never ask a witness a question you don't already know the answer
to.
[INT. BUILDING - DAY]
(BEN FERRARINI leads the officers and stops at the door to apartment #66. He
knocks and listens for a response.)
MICHAEL GILLETTE: Yes?
BEN FERRARINI: Mr. Michael Gillette?
(Inside the apartment, MICHAEL GILLETTE sits in his seat with an open book on
his lap. He closes the book and gets to his feet. BEN FERRARINI knocks on the
door again.)
MICHAEL GILLETTE: Yes!
BEN FERRARINI: Detective Ben Ferrarini, New York City Police Department,
Homicide. I'm here with some FBI agents. We'd like to talk to you for a
minute.
(The door opens.)
MICHAEL GILLETTE: I know why you're here.
BEN FERRARINI: Put your hands above your head, Mr. Gillette!
MICHAEL GILLETTE: Didn't take you long.
(BAILEY steps forward. The OFFICERS put the hand cuffs on MICHAEL GILLETTE and
read him his rights.)
BAILEY: We had good directions.
MICHAEL GILLETTE: You mean someone paid attention? I was afraid the whole
system was deaf from its own ineptitude.
(SAM steps forward.)
SAM: May not be perfect, but it still works.
MICHAEL GILLETTE: It's a joke. Anybody with half a brain can beat the law the
way it's run in this country.
SAM: Is that what you're gonna do now?
MICHAEL GILLETTE: It's full of holes. Judges are afraid to judge. Lawyers are
only in it for the money, and juries will not convict.
SAM: Well, I think they're gonna convict you.
MICHAEL GILLETTE: Of what? I haven't done anything wrong. Everything I've
done is right. And even if you do get me in court, you can bet there's gonna be
one person in that jury box who's gonna agree with me -- one honest citizen with
enough reasonable doubt to hang that jury.
(BAILEY notices a video camera strategically set up to record MICHAEL GILLETTE'S
speech. BAILEY heads over to the shelf.)
BEN FERRARINI: Do you understand your rights as I just explained?
MICHAEL GILLETTE: Yes!
SAM: That was Ashley Bernarding's crime, wasn't it? Reasonable doubt? She was
the jury member who held out in the trial where you were disbarred.
MICHAEL GILLETTE: I remember that case. Mrs. Esperito was acquitted, and then
she went home and killed her husband.
SAM: Where is she? Hmm? Where is Ashley Bernarding? Did you hang her?
(SAM stares at MICHAEL GILLETTE as he smirks at her intriumph.)
BAILEY: Get him outta here.
COP: Let's go, let's go.
(They take MICHAEL GILLETTE away.)
BAILEY: Now we need to find Ashley Bernarding.
(Quick flash of the murders. End of flash.)
SAM: All of his crimes have been recreations. Where was the Esperitto trial
held?
BEN FERRARINI: Superior court building downtown, but it's Saturday. Place is
gonna be empty.
SAM: That's where she is.
(They head out.)
CUT TO:
[INT. SUPERIOR COURT BUILDING -- DAY]
(They walk through the building lobby.)
BEN FERRARINI: The trial was in room 65. Brennan.
BRENNAN: Yes, sir.
BEN FERRARINI: Check that right corridor.
BRENNAN: Right.
(They open the courtroom doors and walk inside. The place is empty.)
(Quick flashes of: The gavel coming down with finality. ASHLEY BERNARDING
sitting in the jury seat. End of flash.)
SAM: No. You don't hang a jury in the courtroom. Where do they take them to
deliberate?
BEN FERRARINI: Just down the hall.
(SAM nods.)
SAM: In his mind, that's where she committed the crime. Bailey.
(They head for the jury deliberating room. They turn the corner and immediately
find ASHLEY BERNARDING. She's tied to a chair on her back on the floor.
There's a hangman's noose around her neck tied to the table. Her tired legs are
holding the table up and keeping it from falling.
BEN FERRARINI: Damn!
(BEN FERRARINI rushes into the room to help her, but BAILEY pulls him back in
case there's more traps.)
BAILEY: Have your men cover us.
BEN FERRARINI: Sarge!
(JOHN rushes forward.)
JOHN: I got the rope. I got the neck.
BAILEY: Go easy.
BEN FERRARINI: All set on this side.
(It takes both men to lift the heavy table off her.
BAILEY: Easy does it.
JOHN: Give her some slack.
(JOHN loosens the noose from around her neck.)
JOHN: It's all right.
BAILEY: Get her away from the table.
BEN FERRARINI: Careful. Careful.
(They pull the chair out from under the table.)
JOHN: Clear! Unh!
JOHN: She's out.
(BAILEY and BEN put the heavy table down and the empty hangman's noose rises
high up into the air.)
SAM: Ok?
BAILEY: You got her?
SAM: Yeah.
JOHN: All right?
SAM: You all right?
JOHN: There we go.
SAM: Are you ok?
ASHLEY BERNARDING: It was that lawyer.
SAM: We know. We know. It's ok. It's ok.
(SAM looks up and sees the hand-held video camera set up on the shelf.)
BAILEY: Let's get the paramedics.
CUT TO:
[INT. SUPERIOR COURT BUILDING - ELEVATOR TO LOBBY -- DAY]
(The elevator doors open. BAILEY, JOHN and SAM walk out and head across the
lobby.)
BAILEY: Ok. We got his tapes ... all his equipment ... and Ashley Bernarding.
(As they pass the lobby, someone from up above from the second floor snaps
photos of the group.)
BAILEY: Michael Gillette gets his day in court. Let's hope he fries.
(SAM looks around. The person watching them snaps more photos of her.)
JOHN: Kind of ironic he was banking on hanging a jury.
(SAM'S awfully quiet. BAILEY turns around.)
BAILEY: You ok?
SAM: I'm just not so sure.
BAILEY: About what?
SAM: You put twelve people in a room, one of them might just see it his way.
(More photos snap of the group leaving.)
CUT TO:
[EXT. FBI BUILDING (STOCK) - DAY]
[INT. FBI - BAILEY'S OFFICE - DAY]
(The phone rings. BAILEY answers it.)
ELLEN BEHAR: (from phone) Malone, you left your beeper in my bed. Why don't
you come and get it?
BAILEY: Hi.
ELLEN BEHAR: (from phone) We can pick up where we left off.
(He laughs.)
ELLEN BEHAR: (from phone) Now's a good time?
BAILEY: I would love to.
ELLEN BEHAR: (from phone) I'm ready for you.
BAILEY: Yeah? Well, I just can't commit to time and place yet.
ELLEN BEHAR: (from phone) I'll leave the door open.
BAILEY: Ok. That'll be great.
ELLEN BEHAR: (from phone) I loved it last time.
BAILEY: Yeah, me too. Bye.
(He hangs up and leaves.)
CUT TO:
[EXT. ALVAREZ RESIDENCE - NIGHT]
[INT. ALVAREZ RESIDENCE - BEDROOM - NIGHT]
(MORGAN walks with GRACE to the bed.)
MORGAN ALVAREZ: Grace, everything is gonna be just fine.
GRACE: Are you happy? Hmm?
(They both sit down on the bed.)
MORGAN ALVAREZ: I ...
GRACE: Are you?
MORGAN ALVAREZ: I'm happy I'm gonna be a father.
(They smile.)
GRACE: You know, once or twice a day I close my eyes, and without warning, I
see you the night Jack tried to kill you. When I came home and I found you
drowning in the tub --
MORGAN ALVAREZ: Grace, I don't want to talk about that.
GRACE: I know. But it just made me realize how much I love you and how much I
want you in my life.
MORGAN ALVAREZ: I know that.
(They kiss. The phone rings. And rings. GRACE answers it.)
GRACE: Ok, I'll get it. (to phone) Hello?
INTERCUT WITH:
[INT. FBI - BULLPEN - NIGHT]
SAM: Hey, Grace. It's Sam. I just called to see how you're feeling.
GRACE: Hi, Sam. Um, yeah, I'm ok, you know. Dr. Fisher took some tests, and
he's probably gonna tell me tomorrow I need to take a week in the Bahamas.
SAM: Well, that sounds like my kind of doctor.
CUT TO:
[JACK'S PLACE - DARKROOM - NIGHT]
(JACK turns on the dark room lamp. He listens in on the phone conversation as
her processes the photos.)
SAM: (from phone) I just wanted to call and make sure you're okay.
GRACE: (from phone) Yeah, I'm okay.
SAM: (from phone) Well, I miss you when you're not here.
GRACE: (from phone) Aw, that's so sweet. I've only been gone two days.
SAM: (from phone) Well, I can miss someone in two days.
GRACE: (from phone) I know. How's New York?
(He takes the photos out of the solution and puts it in the next dish.)
SAM: (from phone) Oh. Well, it was, uh ... Well, Bailey had a good time.
GRACE: (from phone) Yeah, I'm sure he did.
SAM: (from phone) Ok. Well, I'm glad you're ok.
(He hangs the photo of SAM, BAILEY and JOHN out on the line to dry.)
JACK: Did you miss me, too, Sam? I know I missed you. We gotta touch base,
maybe have a drink together, talk about the good old days ... and the future.
(Camera focuses in on the photo of SAM.)
JACK: Yeah. That's right, Samantha. Let's talk about our future.
(Camera holds on the photo of 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
1X16: FILM AT ELEVEN
ORIGINAL AIR DATE ON NBC: 03/08/1997
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
RICHARD ZOBEL as Ben Farrarini
NORMAN SNOW
PAT CRAWFORD BROWN
LARRY DOBKIN
COLETTE KILROY as Ellen Behar
RON KUHLMAN
STEVEN DENNIS
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: STEVE FEKE
Directed by: DAVID S. JACKSON
==========================
END CREDITS
==========================
Sanders/Moses Productions
NBC Studios
NBC Enterprises
Also Starring
WADE WILLIAMS as Craig Gentry
JAMES ARONE as Jack Bernstein
LEGO LOUIS as Kenny Zaiser
SHERRI HOWARD as Ashley Bernarding
MARCUS AURELIUS as Officer Cronk
MARY MAJOR as Syracuse Anchor
JAMES HILL as Niagara Anchor
CATER LEE as Albany Anchor
RANDY HALL as Drunk Driver
Story Editor: ROB LOWRY
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: RICHARD FEURY
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
Script Coordinator: 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: MONICA GILLETTE
Insert Coordinator: CRAIG FELLER
Post-Production Coordinator: TIAN TRIVAN
24 Frame 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:04/27/2004~lky
http://www.webphilia.com/~anthology/wnp.html