PROFILER
1X18: BLUE HIGHWAYS
ORIGINAL AIR DATE ON NBC: 04/05/1997
TRANSCRIBED FROM DVD
Written by: JEAN GENNIS & PHYLLIS MURPHY
Directed by: MICHAEL PATTINSON
Transcript by Intrepid
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Please do not archive this transcript without permission from the
Transcriptionist.
==========================
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==========================
SUMMARY: Sam finds a pattern of highway hit and run auto accidents that could
possibly be the work of an undetected serial killer. George accidentally walks
into his friends video store as its being robbed. Bailey copes with the woes of
living with a wild teenaged daughter. Angel and John start a relationship.
==========================
PROFILER
1X18: BLUE HIGHWAYS
==========================
FADE IN.
[EXT. HIGHWAY -- NIGHT]
(A truck travels down the highway. Inside the truck, the camera focuses in on a
photo of a young couple with their son sitting on the hood of a blue
convertible. Surrounding the photo are other trinkets.)
(The truck quickly approaches behind a car driving in front of it.)
(Close up of the blue, glowing time face. It reads: 12:01 on Monday, March 3.)
(The truck driver slips in a tape cassette into the player. The guitar intro
rift to "Sunshine of Your Love" plays.)
(Cut to: We're shown a glimpse of the truck driver. He's wearing a black motor
cycle helmet. Once again, the camera cuts to the photo of the family sitting on
the hood of a blue convertible. The truck driver presses the gas pedal.)
(The truck speeds up and quickly approaches the car from behind.)
INTERCUT WITH:
[INT. CALDWELL'S CAR (MOVING) - NIGHT]
(JACQUELINE CALDWELL snuggles into her husband's shoulder as STEPHEN L. CALDWELL
drives.)
(Outside, unbeknownst to them, the truck quickly approaches their car from
behind. The truck honks its horn twice. The couple looks up and notices the
truck tailing them. The truck honks its horn loud and long wanting to pass the
car.)
(Finally, the truck passes the car.)
(Once in front of the car, the truck slows down. The CALDWELLS slow down. The
truck puts on its left blinker and drives off to the right side allowing some
room for the CALDWELLS to pass.)
(STEPHEN CALDWELL starts to pass the truck. As soon as he gets near the front,
the truck speeds up.)
(JACQUELINE CALDWELL gasps.)
CUT TO:
[INT. CHEERLEADERS' CAR (MOVING) - NIGHT]
(A van carrying six cheerleaders is driving in the opposite direction.)
GIRL1: He does, too.
GIRL2: He told me in biology.
GIRL3: Keep it down.
CUT BACK TO:
(The truck driver continues to play with the CALDWELL'S car, keeping it in the
passing lane and not allowing them to overtake him.)
(JACQUELINE CALDWELL looks up and sees the oncoming van. She gasps.)
(The driver of the van gasps.)
No!
(STEPHEN CALDWELL turns the car trying to avoid the van. The driver of the van
swerves to avoid the oncoming car. The girls inside the van scream.)
(The CALDWELL'S car is driven off the road into the roadblocks. The impact of
the crash shatters the car's wind shields.)
(The van swerves, drives off the road and down the side of the hill. It
explodes.)
(Back up on the road, the truck stops and backs up near the CALDWELL'S damaged
red car. The truck driver steps out of the truck and slowly limps over to the
car.)
FADE TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
[EXT. ST. ANGELA'S ORPHANAGE - GARDEN -- DAY]
(OFFICERS dig around the rose bush. Camera pulls away and we find that we're at
St. Angela's Orphanage.)
BAILEY: From the length of the spine, the M.E. thinks it's most likely a woman.
Four months in the ground, six tops.
(BAILEY and JOHN duck under the crime tape and heads for the rose bushes.)
JOHN: One victim in about twenty places. Jack was in an angry mood when he
planted this one.
BAILEY: I don't think he was angry. More like economical.
JOHN: Meaning?
BAILEY: Meaning one body, twenty rose bushes. He was making what he had
stretch as far as possible. If my memory serves, six months ago was just about
the time they tell you to fertilize.
JOHN: I'll check my almanac. You really think Jack killed some poor bastard
just to feed his roses?
BAILEY: Sam did say Jack had grown some prize-winners. Now we know his secret.
JOHN: The sickness of this guy never ceases to amaze me.
BAILEY: First he lives here awhile, then kills Sister Mary in her own bed, now
this. Place will never be the same, John.
(They lower the gravestone to the ground. The gravestone reads: )
DeLANCEY
SISTER MARY
BELOVED BRIDE OF CHRIST
1937-1997
(The SISTERS standing nearby watching cross themselves.)
JOHN: I don't know. Those old girls look pretty tough to me. I wouldn't count
them out.
CUT TO:
[EXT. FBI BUILDING (STOCK) -- DAY]
[INT. VCTF - COMMAND CENTER - DAY]
(BAILEY and JOHN walk into the command center.)
BAILEY: Sam, you needed to see me?
SAM: Yeah. Uh ... this may strictly be a flight of fancy, but I think I may
have inadvertently found a new serial killer. George.
(She hands the file folders to BAILEY and JOHN.)
GEORGE: Ok, the electronic flags are the locations of recent traffic accidents
in Missouri, Illinois, and Indiana. They fit a pattern.
JOHN: Serial? You mean, a pattern of accidents?
SAM: Yeah, but it's more intriguing than that. You see, I was watching the
news last night, and there was a story about a car accident in Champaign-Urbana.
(GEORGE puts photos of the accident up on the monitor.)
GEORGE: A car owned by Stephen L. Caldwell was involved in an accident with a
van carrying six cheerleaders home from a game. All six died. Mr. Caldwell and
his wife Jacqueline are missing.
JOHN: They left the scene?
SAM: Yeah, somehow. Car wasn't totaled, but it was inoperable.
BAILEY: Maybe they got scared and ran for it.
SAM: Well, according to friends of Caldwell, they were the kind of people who
would leave a note if they scratched another car in the parking lot.
BAILEY: What brings us in?
SAM: Do you remember Glen Foster? He was an actor sort of a latter-day James
Dean. He was killed in a car accident in Missouri two weeks ago.
GEORGE: It's another hit and run.
SAM: Yeah, and another missing couple, Foster and his date. Same kind of
secondary highways, same kind of car-- what you might call an american classic.
JOHN: Did they walk away from that one?
SAM: We don't know, but their bodies were never found.
GEORGE: I used the accident reports to make a simple mathematical model, and
then I tried to cross-reference with traffic fatalities in nearby states.
JOHN: Made up your own national database.
GEORGE: Exactly, and I found three more that fit the pattern.
SAM: So that's a total of five crashes in three adjoining states.
BAILEY: A man and woman missing from each one. Where was the last one?
SAM: Illinois.
BAILEY: Good heads-up, Sam. We'll take a look. (to GEORGE) Let's get the
chopper.
(BAILEY stands up and leaves.)
GEORGE: Ok.
(JOHN turns to SAM.)
JOHN: Did I, um ... did I thank you, by the way?
SAM: For what?
JOHN: Oh, for suggesting to your roommate that I'd be, uh, more than happy, I
believe she said, to talk to her night school of juvenile delinquents and, uh,
glue heads. The officer friendly routine.
SAM: Oh, oh, no. I just told her that you had done that while you were with
the Atlanta P.D.
JOHN: Back then, I was under orders. This is voluntary.
SAM: Oh, I'm sorry I--I thought you would get a kick out of it. I mean, it's
really amazing what she's done with these kids.
JOHN: The last time I did this, I was in a high school, and six guys hot-wired
my cruiser, took her joyriding all over Peachtree.
SAM: Oh, well, there's no problem here. Angel's kids are all too young to
drive. It'll be fun.
(SAM grabs her things, stands up and leaves.)
CUT TO:
[EXT. COMMUNITY (STOCK) - DAY]
LEGEND:
CHAMPAIGN, ILLINOIS
[EXT. ROAD - DAY]
(SAM stands in the middle of the roadway looking over the accident site.)
DETECTIVE: Stephen and Jacqueline Caldwell -- Rockwell, Illinois - going on
vacation to Tennessee. The Mustang was South-bound, the van, North-bound.
Vehicles wound up here ... and here.
SAM: And for some unknown reason, the Caldwell's Mustang crosses directly into
the path of the van.
BAILEY: It's gonna be hard to tell from the physical evidence. It's been too
badly churned.
DETECTIVE: We thought we could save some of those girls, so there was
ambulances in and out of here. It was worth a try, but it screwed up the scene.
The Caldwell car was sitting here alone, empty. They hit the shoulder hard,
maybe cut themselves, but they could have been on their feet.
JOHN: Think they flagged a ride from a passing vehicle, or if they were D.U.I.,
maybe they paid for a ride.
DETECTIVE: Drunk drivers usually leave skid marks, evidence of weaving,
unsteady steering. Hey, what's the F.B.I. doing on this one?
BAILEY: Similar scenes have turned up in Missouri and Indiana. We think there
might be a pattern.
(SAM finds a different set of tire tracks.)
SAM: Look at this.
BAILEY: Doubles. From the size, it's a truck.
JOHN: Big rig. 18-wheeler, maybe.
DETECTIVE: Wasn't here before. Maybe it stopped later.
(Quick flashback of: [NIGHT OF ACCIDENT] The truck keeps the mustang in the
opposite lane, causing the crash. The mustang hits the van. The van catches
fire and rolls down the hillside.)
(End of flashback. Resume to present.)
SAM: What if the truck was part of it?
BAILEY: We'll get some infrared, see if we can put a time on when these were
made. Also, can you have your people make a cast of this for us?
DETECTIVE: We'll plaster-cast the whole damn highway if you want, but I'm still
looking at vehicular manslaughter and two suspects that fled the scene.
CUT TO:
[EXT. MUSIC WORLD, MUSIC & VIDEO - NIGHT]
[INT. MUSIC WORLD -- NIGHT]
(A typical video rental store. GEORGE walks up to DANNY putting videos away
back on the shelves. He holds out a disk.)
GEORGE: Hey, Danny. I got my virus warning program upgrade for you. It's
pretty swift.
DANNY: Hmm, but can it catch my newest bug?
(DANNY hands his own disk to GEORGE who takes it.)
GEORGE: Oh, no. I didn't hear that. Listen, if I thought you were writing a
virus patch, I'd be obliged to turn you in. (GEORGE gives the disk back to
DANNY.) Frag it.
DANNY: Relax. It never went any further than this disk. It's just a, you know,
challenge or something.
GEORGE: Yeah, I know too well. It almost bought me six years in Leavenworth.
You frag it. That's my advice.
(GEORGE walks up to the counter with his tape.)
BEN: You guys are worse than those nerdy kids who come in here. You rewind
this?
GEORGE: Ben, I'm insulted.
(BEN opens it anyway. It's not rewound.)
GEORGE: (busted) I'll rewind next time. I promise.
(GEORGE leaves. DANNY smiles.)
CUT TO:
[EXT. FBI BUILDING (STOCK) - DAY]
[INT. VCTF - COMMAND CENTER -- DAY]
(On the monitor, GEORGE has the photo of the big-rig tire tracks.)
GEORGE: They measured the degradation of the tracks, allowing for wind and rain
later on that night, and I'm pretty sure that the truck was there at the same
time as the Caldwells' car.
JOHN: There's your hit and run.
BAILEY: What about the other sites?
GEORGE: All four. No one had looked for truck tires.
BAILEY: And there's no report of a big rig getting wrapped up in one of these
wrecks.
(SAM stares at the tire tracks up on the monitor.)
(Quick flashback to: The truck causes the Mustang to smash into the van. End
of flashback. Resume to present.)
(She turns around to look back at the group.)
SAM: A truck is an unusual choice of weapon.
BAILEY: George, let's start digging for truckers who were on these roads the
night of the wrecks.
(GEORGE puts the photos of the victims back up on the wall monitor.)
BAILEY: Let's take a look at the victims again. All young couples. All
missing. Figure some kind of sex crime? Jealousy, envy?
SAM: Jealous of their cars, then? No. I think it's more about the accident
itself.
JOHN: He keeps repeating the accident.
GEORGE: Yeah. Sticking to the same roads.
(GEORGE puts the map back on the wall monitor.)
GEORGE: Both crashes in Missouri were on highway 26, both in Illinois on
highway 201.
SAM: What are the dates of the accidents?
GEORGE: February 3 and 23, March 3, 23, and 30.
SAM: They all have the number 3 in them.
GEORGE: And if we've got his pattern down, next one will be Indiana.
BAILEY: Today's the 3rd.
CUT TO:
[WATCH FACE]
(Close-up of the glowing watch face reads:
TH 4 3
12:01 AM )
(The person pops in a cassette into the player. "Sunshine of your love" starts
to play. He adjusts his helmet on his head.)
(The big-rig truck horn blares as the camera focuses on the front truck grill
and headlights.)
FADE OUT.
FADE IN.
[EXT. CITY (STOCK) - DAY]
LEGEND:
BIRCHFIELD, INDIANA
(A helicopter sounds overhead.)
[EXT. HIGHWAY -- DAY]
(Close up of an overturned car's back fender. The license # is 64u88B7.)
(SAM kneels down next to the big-rig truck tires in the dirt. She compares the
tires to the photo of the tire tracks from the other accident. On a visual,
they match. In the background, we hear BAILEY talking.)
BAILEY: The Indiana Highway patrol pegged the time of the accident at about
12:21 A.M.
SAM: Truck tracks look the same.
BAILEY: It's all the same -- classic car, missing couple, the same road as the
first Indiana wreck. He's consistent, if nothing else.
BAILEY: We've got one set of footprints leading to and from the car. Let's get
a cast of these.
SAM: Hey, John. Police report say anything about the ambulance coming up to
this car?
JOHN: First on the scene said it was abandoned. The paramedics went straight
to the other vehicle.
(SAM looks at a set of tracks in the dirt.)
(Quick flash of: A gurney is pushed up to the car. End of flash. Resume to
present.)
(BAILEY kneels next to her looking at the tire tracks.)
BAILEY: Gurney tracks.
SAM: Could be.
BAILEY: He's using a gurney to remove the bodies.
(JOHN looks into the over-turned vehicle.)
JOHN: It's a lot of trouble to create an accident just to get some bodies.
SAM: Not just bodies. Couples.
JOHN: He ripped off the radio, too.
CUT TO:
[INT. VCTF - COMMAND CENTER -- DAY]
(GEORGE works on his laptop while on the phone. He shows them the software.)
GEORGE: Insurance companies use this kind of program to recreate accidents and
figure out what went wrong, what really happened, especially if there's no
witnesses or anybody left alive. I can compute any one element -- time,
distance, speed -- from the other two. I can plug in odd geometry, even wind,
rain, snow.
SAM: Can you plug in the truck?
GEORGE: Done.
(On the simulation on screen, GEORGE adds a truck.)
GEORGE: Ok, this is the Caldwell wreck simulation from Illinois. Now, first
thing you can notice is the Caldwells' car was speeding. Of course, he was
passing. At least, he was trying to. He hit his brakes hard in the left lane.
He tried swerving right, had to swerve back ...
BAILEY: The truck is boxing him in. He can't get over.
GEORGE: Caldwell's car smashes into the dozer. The van goes off the edge.
Elapsed time, nine seconds. The sports car stopped in approximately 110 feet,
which matches the real scene almost exactly.
SAM: Truck stops, backs up to the Caldwells' car, and takes them away. But how
does he choose them?
JOHN: Sees them on the road, spots the right kind of car.
(Quick flash of: The truck ... the couples ... End of flash. Resume to
present.)
SAM: Or maybe he spots them at a gas station first, or a diner or truck stop --
anywhere that he can study his prey.
(BAILEY gets to his feet.)
BAILEY: Let's get a map of every rest stop, fast food place, even picnic areas
on the routes the couple took.
CUT TO:
[EXT. WHEATLAND HIGH SCHOOL - DAY]
[INT. WHEATLAND HIGH SCHOOL - HALLWAY -- DAY]
(BAILEY escorts FRANCES through the school hallway.)
BAILEY: I think you look beautiful, Frannie.
FRANCES MALONE: I think I look ridiculous. See? Did you see that? Nobody's
gonna talk to me wearing this.
BAILEY: I remember when your mother took you to first grade. She told me you
cried so hard, she almost brought you back home.
FRANCES MALONE: Really? What spooked me?
BAILEY: Well, you told her that you didn't know they were gonna have desks.
You thought it would be just like kindergarten.
FRANCES MALONE: I can handle the desks. It's the starting over I'm worried
about, you know? Making new friends and stuff.
BAILEY: Starting over is hard, Frannie. It takes courage, and I'm trying to
find my own way, too. Why don't we try a little give-and-take, ok?
FRANCES MALONE: Ok.
(The school bell rings.)
FRANCES MALONE: How about twenty bucks? For lunch.
BAILEY: It's for the whole week, right?
FRANCES MALONE: You want me to gain weight, don't you? (She hugs him.) You're
the best.
(He kisses her on her forehead. She turns and )
CUT TO:
[INT. MUSIC WORLD -- NIGHT]
(GEORGE walks through the video store. It's abnormally quiet and still for
night time. He walks up to the counter and looks around. BEN quietly
appears..)
GEORGE: Oh, Ben, where's Danny? I got another game for him.
(BEN stares at GEORGE.)
GEORGE: Ben?
(BEN uses his eyes and glares at something behind GEORGE. GEORGE turns around
and sees DANNY on the floor, dead.)
GEORGE: What's ...
BEN: Look out!
(An intruder jumps up from the counter and hits GEORGE on the back of his head.
GEORGE falls to the ground. The intruder grabs the cash out of the register,
jumps over the counter and grabs GEORGE. The ROBBER takes out a gun and holds
it to GEORGE'S head.)
GEORGE: You have all their money.
MUGGER: Yeah, but I don't have yours, huh? And we haven't checked the safe
yet, either. (to BEN) Here!
(He motions for BEN to move. The ROBBER takes GEORGE'S wallet and looks at it.)
ROBBER: F.B.I. Why didn't you tell me I was so lucky, huh? I got $146 and a
fed. That's not a complete waste.
GEORGE: I only work there. Computers.
ROBBER: Right, like I believe that.
GEORGE: Why are you doing this?
ROBBER: Because ... I hate liars. Now ... I wonder if you're gonna actually
feel the bullet.
GEORGE: Please don't.
(The ROBBER stands up and points the gun down at GEORGE. He pulls the trigger
and the gun clicks.)
ROBBER: You are one lucky son of a--
(The ROBBER kicks GEORGE in the stomach, turns and leaves. On his way out, he
hits BEN in the face with the gun. The ROBBER leaves the video store. GEORGE
remains huddled on the floor and in pain.)
CUT TO:
[INT. ANGEL'S CLASS]
(The kids are painting. ACE is painting on someone else's portion of canvass
and messing it up.)
GIRL: Get off!
ANGEL: Hey, hey, hey.
GIRL: Get off!
(ANGEL appears behind the canvass and assesses the situation.)
ANGEL: Ace, give me that brush.
ACE: Why? She's just gonna mess it up with them little flowers and all.
(ANGEL kneels down next to ACE.)
ANGEL: Those are her flowers, and you have written your name all over them.
That is very disrespectful to her.
ACE: But she's going to --
ANGEL: No, no. You deserve respect, but that is something you have got to give
in order to get.
(JOHN walks into the class.)
JOHN: Ahem.
(ANGEL and the kids turn to look at JOHN.)
ANGEL: John. (She stands up.) Thanks for coming.
JOHN: Glad to be here.
ACE: Who's he?
ANGEL: He's a friend, and he is going to talk with us.
JOHN: Hi.
ACE: He looks like a cop.
JOHN: Actually, I'm -- I'm with the F.B.I.
ACE: I thought you said he was gonna talk to us, not bust us.
ANGEL: He's just going to talk.
ACE: You're always telling us, "stop talking and paint."
(ACE turns to paint. Busted, ANGEL smiles. She pulls up a stool for JOHN to
sit on.)
ANGEL: Have a seat.
JOHN: Thanks.
(JOHN sits down and reaches for ACE'S brush. He pulls it out of ACE'S hands.)
JOHN: Here. (to ACE) Paint. (He looks at the canvass in front of him and
sighs.) Right.
(JOHN starts painting.)
CUT TO:
[EXT. FBI BUILDING (STOCK) - DAY]
[INT. VCTF - BAILEY'S OFFICE -- DAY]
(BAILEY'S in his office behind his desk when GEORGE walks in. He stands up and
walks around the desk to take the seat across GEORGE.)
BAILEY: I talked to Atlanta P.D. I told them we want in on any case involving
our own. You sure you can't make this guy?
GEORGE: (shakes his head) Mm-mmm. He clipped me from behind.
BAILEY: Unfortunately, your friend the store owner was too scared to give an
I.D. The clerk got hit from behind, didn't see anything. But the police have a
pretty good idea it's a neighborhood thug named Luke Dickerson. He's got a
four-page rap sheet.
GEORGE: They know his name?
BAILEY: They picked him up. Bottom line, without an I.D., they can't hold him.
GEORGE: They let him go?
BAILEY: He'll slip up, George. They'll get him.
GEORGE: The second that gun jammed, I should have just beat the hell out of
him.
BAILEY: Don't second guess yourself.
GEORGE: I didn't do it 'cause I was scared, and because I didn't do anything,
this guy Ben might go blind in one eye.
BAILEY: You can't take responsibility, George, and being scared probably saved
your life. That's not a bad thing.
GEORGE: I could have stopped him.
BAILEY: And gotten yourself killed? You did the right thing, George, and your
friends are alive.
CUT TO:
[INT. VCTF - COMMAND CENTER - DAY -- CONTINUOUS]
(JOHN is sitting at this desk going through a file. He glances behind him and
puts the file away. He stands up as GEORGE and BAILEY enter the room.)
JOHN: He's not gonna get away with it.
(GEORGE takes his seat behind his laptop.)
GEORGE: He already did. (clears his throat and starts typing) All right, I
got something new. Now, the highway killer ripped off the radio, so I had the
Illinois and Missouri highway patrols inventory the other wrecks. There were
parts missing from each of them.
BAILEY: They were probably so badly smashed, I guess no one bothered counting
fingers and toes.
GEORGE: Well, these classics are rare. Original parts can be pricey.
JOHN: Don't tell me he's doing this for the resale.
BAILEY: I doubt it. He never took the same part twice.
GEORGE: I listed the serial numbers on the interstate hot sheet. I already got
a hit. The radio from Indiana just turned up in Detroit.
CUT TO:
[EXT. DETROIT CITY (STOCK) - NIGHT]
LEGEND:
DETROIT, MICHIGAN
(A helicopter flies overhead.)
[EXT. JUST OUTSIDE CHOP SHOP -- NIGHT]
(DETECTIVE SPITZ leads JOHN and BAILEY and other officers to the chop shop where
the part was found.)
DETECTIVE SPITZ: These chop shop dealers got these kids stealing high-end cars.
American classics. Get 'em out of the country, sell 'em for three times what
they go for here.
JOHN: Who caught the serial number?
DETECTIVE SPITZ: We got a guy undercover. He called it in. You think your
killer is one of these chop shop dealers?
BAILEY: I doubt it. My profiler says the guy's a loner. Ok, are your men
ready?
DETECTIVE SPITZ: Yeah.
BAILEY: John.
(JOHN heads in one direction while DETECTIVE SPITZ heads in another.)
DETECTIVE SPITZ: (to radio) Move.
(The officers start to surround the place.)
[EXT. CHOP SHOP - NIGHT -- CONTINUOUS]
(The CHOP SHOP MEN are busy taking apart a car, their machines whirring and
covering the sounds of the men surrounding them.
OFFICER: Don't move! F.B.I.!
(The CHOP SHOP MEN look up and realize that it's a bust. They drop their
machines and run for it.)
(JOHN runs after one of the men and grabs him.)
OFFICER: Don't move!
(BAILEY jumps up and runs over a car to get to the next man. He passes JOHN who
is busy cuffing the MAN he caught.)
JOHN: Give me your arm. Other arm.
(BAILEY chases after the MAN and loses him momentarily. The man runs up to him
with a crowbar and takes a swing at BAILEY. BAILEY ducks, turns and grabs the
man with the crowbar.)
MAN WITH CROWBAR: Ok. Ok, man. Good move. I need a deal.
BAILEY: Don't we all? Me, I'm looking for a radio from a '67 Camaro.
MAN WITH CROWBAR: Man, they send me up, I go back to California on three-
strikes beef, ok, and I don't think they got too many spares for me, you know
what I'm saying? Can we do some business?
[SHORT TIME LATER]
(The OFFICERS are busy putting the CHOP SHOP MEN in their cars. BAILEY talks
with the MAN he caught as they walk him to the cars.)
GUY: This guy with the muscle car parts, he's, like, totally whacked, ok? I
mean, we never even see him. We just put the money in a coffee can over there,
and in the morning he leaves us a surprise. Like today, it was a delco push-
button hi-fi tuner, a tube-type, early F.M. It was nice.
BAILEY: Show us where.
GUY: Right over here.
JOHN: Why are some of them polished?
GUY: Ask the guy. I'm telling you, he's a freak. I mean, you would think some
of the stuff he gives us was showroom. It's thirty years old.
BAILEY: We need to box up these refurbished parts.
(Suddenly, they hear a car horn blare and a bright light shine in their faces.
BAILEY ducks and reaches for his gun. JOHN pulls out his weapon and steps
forward aiming at the light shining in their eyes.)
JOHN: Federal officer. Don't move!
(The flashlight tilts upward and toward EMMETT'S face casting shadows from
underneath.)
EMMETT: (slowly) Don't shoot.
JOHN: Then don't move.
(JOHN tucks his gun away and kneels down to search EMMETT.)
BAILEY: What are you doing here?
EMMETT: (slowly) I'm Emmett.
JOHN: Got any weapons on you, Emmett?
EMMETT: I got a frog in my pocket.
(A frog ribbits. JOHN turns to look at BAILEY, amused.)
JOHN: So you do.
(BAILEY nods, equally amused.)
CUT TO:
[SHORT TIME LATER]
(EMMETT sits down, a blanket around his shoulders and a mug of something hot in
his hand.)
JOHN: You should be at the shelter.
EMMETT: (slowly) I got to take care of my garden.
JOHN: Garden? What--what garden?
EMMETT: (slowly) What do you mean, "what garden?"
(BAILEY kneels in front of EMMETT.)
BAILEY: It's a beautiful garden, Emmett, especially the shiny ones. Did you
polish them yourself?
EMMETT: No, no. Bug Head brings them like that. Brings them in his truck.
JOHN: Bug Head?
BAILEY: Does Bug Head have another name?
EMMETT: I don't know. He don't talk. He just stays in that truck like-like he
lives there.
JOHN: What does Bug Head look like?
EMMETT: You ever seen a bug? Big, shiny head, no face?
BAILEY: And his truck, you said he lives in it.
EMMETT: He's got everything he needs right inside. It's a kingdom for one,
covered with lights like a palace. Eighteen-wheeler.
(EMMETT makes a low, growling noise imitating a big-rig truck.)
EMMETT: He's got a metal case in the front - that's where he sleeps. He lives
like a king. Bug-head, the king.
JOHN: When was the last time you saw him?
EMMETT: (shakes his head) I don't know. - Few days?
BAILEY: If we asked you to sit down with an artist and describe Bug Head for us
so we could draw a picture of him, could you do that?
EMMETT: I could draw you a picture myself ... if you hold my frog.
(EMMETT pulls out his frog from his pocket and holds him out to BAILEY. The
frog ribbits.)
EMMETT: He's feeling a little frisky.
(BAILEY reaches for the frog. EMMETT looks from BAILEY to JOHN who smiles,
amused.)
FADE OUT.
FADE IN.
[INT. VCTF - COMMAND CENTER - DAY]
(On the monitor is a sketch of "Bug Head".)
BAILEY: According to Emmett, this is bug head, the killer. Helmet and racing
leathers. It's the best the sketch artist could do based on the description.
JOHN: That's a pretty bizarre outfit for driving a truck.
BAILEY: What about the footprints from the Indiana crime scene? Do we have the
casts back yet?
GEORGE: Uh-huh. It's subtle, but he drags his right foot. He puts about
thirty percent more weight on his left.
SAM: He's got a limp, which means he was hurt. (SAM sits down.) He wears a
helmet and leathers, has a cage built into his truck. This guy has an intense
phobia about being in a crash.
JOHN: He's scared of having an accident, so he runs cars off the road into the
path of other vehicles. That's some Bug Head.
(JOHN sits down.)
SAM: Above all, he wants to be safe, but he's compelled to keep going back out
there.
(Quick flashes of: "Bug Head" and the Truck. Resume to present.)
BAILEY: If he holds to form, he'll grab another couple on the 13th, which is
tomorrow. Let's concentrate on where he feels safe.
SAM: It's not about being safe. He's repeating his pattern.
GEORGE: So he'll start over. He'll go back to Missouri.
BAILEY: John, put the Missouri H.P. on alert. Get them a sketch. Tell them
about the limp.
GEORGE: Ok, your witness said that Bug Head the king lived in a palace of
lights, so I did some extrapolating, and what if he meant that the Bug Head
drives a royal road rig?
BAILEY: Well, it makes sense if we can believe any of it.
SAM: Truckers usually stick to the interstates. Why isn't this guy?
GEORGE: Well, maybe because it's too crowded. Too many witnesses.
BAILEY: Not after midnight, when he does his hunting.
SAM: His choice of roads isn't practical. Must be a part of his compulsion.
JOHN: Illinois, 2; Indiana, 60; Missouri 51. He's got a compulsion for blue
highways and detours.
GEORGE: No, see, they are now, but I ran each state's history of road
construction. Let me take you back through time. This is 1930. Now, with all
the modern clutter gone, you can see it.
(GEORGE changes the highway map on the monitor and shows that there are less
lines on the map than present.)
BAILEY: It's the same road.
GEORGE: Right. See, they were all displaced by interstates in the late sixties
and early seventies, but in the first half of the century, this was U.S. 11, the
original interstate truck route.
(GEORGE draws a connecting line between all the accident sites to show that
they're really just one road.)
SAM: Maybe he's repeating an accident from that era.
JOHN: Which means it's at least twenty-five years old.
BAILEY: Let's put a practical upper limit of, say, forty years. Could be
older.
SAM: Could have been a child.
BAILEY: Ok, George, we need accidents with children 25 to 40 years ago on these
roads.
SAM: Occurring on a date with the number 3 in it.
JOHN: Don't forget the leg injury.
BAILEY: Georgie, let's make it fast.
GEORGE: Like my mother always said, "All you get for doing good work is more
work."
(GEORGE stands up to get to work.)
CUT TO:
[INT. VCTF - BAILEY'S OFFICE -- DAY]
(The phone rings. BAILEY answers it.)
MS. GATES: Mr. Malone, this is Miss Gates from Wheatland High School.
CUT TO:
[INT. VCTF - SAM'S OFFICE -- DAY]
(SAM is working at her desk when BAILEY walks into the office.)
BAILEY: Hey.
SAM: Hey.
BAILEY: You got a minute?
SAM: Yeah, sure.
BAILEY: Sam, I'm not scared of bullets, bombs, bad guys. It's par for the
course. I am scared for my own daughter.
SAM: From what I hear about raising teenagers, it sounds appropriate.
(BAILEY sits down.)
BAILEY: Frances was twelve when Janet and I split up. A little girl. I turn
around, she's seventeen. It's like an alien took over her body.
SAM: Well, those aren't aliens, Bailey. Those are hormones. Half the time,
she doesn't know who she is.
BAILEY: She just started at Wheatland High. She already cut school today. I
don't know where she is.
SAM: Well, you don't think that she went back to Baltimore, do you?
BAILEY: No. She and Janet had a huge blowout. Besides, she knows the only
reason the court dismissed the charges against her was on the condition she live
with me.
SAM: I just really think that she's just testing her boundaries, Bailey. I
mean, you're as new to her as she is to you.
BAILEY: That's not the way I wanted it. I fought hard for her, Sam. I sued
for joint custody. No dice. Janet had the judge on her side. I got completely
shut out.
SAM: Does Frances know how hard you fought for her?
BAILEY: I'm not sure.
SAM: I think you should tell her.
(There's a light knock at the door.)
BAILEY: Yeah.
(GEORGE walks in with a long piece of computer printout. He sits down and puts
the print out on SAM'S desk.)
GEORGE: I got three hundred and fifty-six so far, one hundred and ten with
children who survived, and right here eleven with male children who injured a
leg.
BAILEY: Forty-year-old accidents. Forgotten tragedies.
GEORGE: Yeah. Some states don't keep the actual files past thirty, then it's
microfilm. I hooked up to the courthouse data network for the photo.
(SAM finds something.)
SAM: Wait, wait, wait. Listen to this. (reading) David Hambling, only child.
Parents killed in a head-on with a truck on Missouri route 26 in 1968. They
were driving a Camaro, and David's right leg was -- was crushed. March 3.
(Camera focuses in on a color photo of DAVID HAMBLING as a child. SAM hands the
file to BAILEY.)
BAILEY: His foster family name was Rutherford. See if you can get a current
address.
(GEORGE stands up to get the information.)
CUT TO:
[EXT. RUTHERFORD RESIDENCE - BACK YARD / DRIVEWAY -- DAY]
(LILLIAN RUTHERFORD looks at the photo of the HAMBLINGS. SAM talks with her as
she picks up the toys on the lawn.)
LILLIAN RUTHERFORD: Sure, he had problems, but a lot of these kids do. Don't
get me wrong. I love being a foster mother, but these kids got dealt crappy
cards, or they wouldn't be here in the first place.
SAM: Well, what was David Hambling like as a child?
LILLIAN RUTHERFORD: Quiet. Kept to himself. Never made any friends. He used
to make the most beautiful model cars -- polished them, painted them.
(Quick flashes of: Cars and car parts. Resume to present.)
SAM: And then he'd destroy them.
LILLIAN RUTHERFORD: Yeah. Used to smash them with his shoe. Do you know Davey?
SAM: Well, I'm beginning to feel like I do. Now, he had a crushed leg.
LILLIAN RUTHERFORD: Yeah, from the accident when he was four. I don't like to
think about it. Can you imagine being trapped in the back seat of the car while
your parents are dying in the front? Can you imagine what that does to a kid?
(Quick flashes of: DAVID HAMBLING in the back seat of the car during the
accident. Resume to present.)
SAM: Well, thank you for your time.
(SAM turns and leaves.)
CUT TO:
[INT. VCTF - BAILEY'S OFFICE -- DAY]
(JOHN waits in BAILEY'S office. BAILEY walks into the office.)
JOHN: You wanted to see me?
BAILEY: Yeah. John, when you were on the Atlanta P.D., you remember where the
kids from Wheatland hung out?
JOHN: Sure. The straight kids go to Piedmont Mall, and the punks hang out at a
place they call the stacks. Why?
(BAILEY'S silent for a moment. He puts a hand on JOHN'S shoulder and they walk
out of the office.)
BAILEY: File this under the heading of "personal favor."
JOHN: Ok.
BAILEY: Thanks.
(BAILEY leaves.)
CUT TO:
[EXT. THE STACKS -- DAY]
(BAILEY drives up to The Stacks. He exits the car and finds FRANCES handcuffed
to some guy. He walks up to them.)
BAILEY: Take 'em off.
(FRANCES slips the handcuffs off. The TEENAGED BOY takes his cuff off.)
TEENAGED BOY: She just borrowed your pretty bracelets, pops. Chill.
(He tosses the cuffs to BAILEY.)
BAILEY: (to the BOY) Don't you have someplace else to be? (to FRANCES) Get
in the car.
FRANCES MALONE: (in a huff) That's great. Did you have to flash your badge?
Now they all know my dad's in the F.B.I. That'll win me a lot of friends.
(He puts a hand on her back.)
BAILEY: You don't want these friends, Frances.
(She pushes his hand away and whirls around to him.)
FRANCES MALONE: You really don't care about my feelings, do you?
BAILEY: Of course I do. I care about your feelings most of all. But I also
care that you cut school today. That can't happen anymore, Frannie.
FRANCES MALONE: It just so happens there was a sub, and nothing was gonna
happen anyway, but you don't even bother to ask me that. You assume --
BAILEY: I assume you're in school when you're supposed to be. Now, get in the
car.
(BAILEY opens the car door.)
FRANCES MALONE: You don't even know me. All I ever was to you was a check in
the mail.
(BAILEY stops and stares at FRANCES.)
BAILEY: That's not true. I fought your mother like hell for custody.
FRANCES MALONE: That's not the way she remembers it.
BAILEY: (sighs) Look, we've got a lot to talk about. I want us to air it all
out so we can make a clean start. Ok? Get in the car, please.
FRANCES MALONE: (mutters) Thought it was going to be different here, but
you're just like mom.
(She climbs in the car and he shuts the door.)
CUT TO:
[INT. VCTF - BATHROOM -- DAY]
(JOHN walks into the bathroom. He passes an AGENT on the way out.)
JOHN: Hey.
AGENT: How you doing?
(Inside, he finds GEORGE putting medication on his cut. GEORGE sighs.)
JOHN: Tearing off those things sure hurts, don't it?
GEORGE: Yeah.
JOHN: Main thing is you're okay.
GEORGE: Is it? No. Tomorrow I get my stitches out. You know my friend Ben?
He's gonna need surgery on his eye to reattach the retina. It's fifty-fifty.
JOHN: Over a few bucks. Happens all the time.
GEORGE: No, it doesn't, not to me, not to my friends. Danny's gonna have to
eat through a straw for the next six weeks. His jaw is broken. I let it
happen.
JOHN: Wasn't your fault.
GEORGE: No, I froze. John, you know ... you wouldn't have. You and Bailey and
Sam ... it's just ... when that gun jammed, I had my chance. I just ... I
froze. I never got a clear I.D. Now he's walking around. He'll sure as hell
do it again.
JOHN: You didn't create him. It's not your fault. You're being too hard on
yourself.
GEORGE: I can't eat, I can't sleep at night. I have to take care of this.
JOHN: What does that mean?
GEORGE: I've looked into this Luke character. I know where he goes and when.
I'm into where he lives and breathes.
JOHN: Maybe a couple buddies of mine from the Atlanta P.D. Can scramble his
eggs.
GEORGE: No. See, I don't need that. All I need is a gun.
JOHN: A gun? You're out of your mind. The last thing you need is a gun.
GEORGE: Fine.
JOHN: Listen to me. Smartest thing you can do is leave this guy alone. But
getting a gun, going after him by yourself, that's not even on the list.
GEORGE: Well, I can't buy one, right? At least, not legally.
JOHN: Think about why, George. You were busted for illegal hacking. You
turned your life around with us. You want to throw that all away just 'cause of
this guy?
GEORGE: Thanks for your help.
JOHN: You know, this conversation alone is a felony.
GEORGE: Well, then arrest me, John, ok?
(GEORGE leaves. The door closes on JOHN.)
FADE OUT.
FADE IN.
[EXT. STREETS -- NIGHT]
(LUKE DICKERSON walks along the sidewalk, his head tucked down, his jacket
collar up. JOHN watches him through his binoculars from the roof top.)
(From behind him, GEORGE rapidly walks across the street in an intersecting
pattern with LUKE DICKERSON.)
(As soon as he clears the phone booth, GEORGE grabs LUKE DICKERSON from behind
and pushes him into the nearby alleyway.)
LUKE DICKERSON: So ... all right, all right.
LUKE DICKERSON: Unh!
(GEORGE pushes him up face down against the wall. LUKE takes out his wallet and
hands it to GEORGE.)
LUKE DICKERSON: Ok, here, here. You just take my wallet, right? I don't want
to fight ya. I'm not gonna look at ya.
GEORGE: No, I want you to look at me ... Luke.
LUKE DICKERSON: No, thanks, man.
GEORGE: Turn around really slow and look at me, Luke.
(LUKE turns around and looks at GEORGE. He recognizes GEORGE.)
LUKE DICKERSON: F.B.I. What is this? Uh ... Is this a bust, F.B.I.?
(GEORGE pulls out the gun and holds it against LUKE'S chin. He cocks the gun.)
LUKE DICKERSON: Hey, hey, hey ... uh, you want to take it easy with that thing,
ok? You want to think about what you want to do--
GEORGE: Hey, you blinded a man. You broke a kid's jaw. Now, what do you think
I should do to you?
(Though he sounds normal, tears stream down GEORGE'S cheeks.)
LUKE DICKERSON: Well, I don't think you should kill me, because I didn't kill
anybody, you know? I let you live.
GEORGE: No, you didn't. Your gun jammed, Luke. Do you remember? You wanted
to, you tried to, but your gun jammed. I don't think mine will. What would the
odds of that be?
LUKE DICKERSON: I got kids. Ok, have ... have mercy, please.
GEORGE: What mercy? I didn't get any from you.
LUKE DICKERSON: It was just business. It was nothing personal. You don't have
to do this to me, ok? It was just, uh ... the same old, same old ... go along,
get along, you know?
(In the back, JOHN appears in the alleyway watching them. LUKE turns and sees
JOHN. He immediately calls for help and struggles to get free thinking that
GEORGE is going to let him go.)
LUKE DICKERSON: Hey, this guy's trying to kill me, huh?!
(GEORGE slams LUKE back up against the wall. JOHN slowly approaches them.
GEORGE looks at LUKE and calmly shakes his head, no.)
(JOHN walks up behind GEORGE. He takes out his badge and shows it to LUKE.)
(LUKE sees the badge and closes his eyes with relief.)
LUKE DICKERSON: Oh.
JOHN: Thought you might need some backup, but, uh, I guess you don't.
(JOHN takes a step back. LUKE sees him leaving.)
LUKE DICKERSON: Hey. Hey, where you going? Uh ... where you going?
(GEORGE pulls LUKE'S attention back to him.
GEORGE: Face the wall.
LUKE DICKERSON: No, no, no, please.
GEORGE: Face the wall.
LUKE DICKERSON: Please, please, please, man, please!
(GEORGE turns LUKE so that he's facing the wall. LUKE starts begging.)
LUKE DICKERSON: Please, please ... please.
(GEORGE turns around to glance back at JOHN.)
LUKE DICKERSON: Please.
(JOHN holds out the handcuffs.)
JOHN: You want to do this?
LUKE DICKERSON: Please, please ... please. Please.
(GEORGE takes a deep breath.)
GEORGE: I got what I wanted. I don't care what you do with him.
(GEORGE walks away leaving LUKE with JOHN.)
JOHN: Get up. (firmly) Stand up! Put your hands behind your back.
(JOHN cuffs LUKE.)
CUT TO:
[INT. VCTF - COMMAND CENTER -- DAY]
(On the monitor is a current photo of DAVID HAMBLING.)
GEORGE: David Hambling drove for Midstates Overland until he was fired three
months ago, and he stole a Royal Road 18-wheeler, and he just dropped right off
the map.
JOHN: There's only so many places a custom-made 18-wheeler can hide.
SAM: We can't wait, Bailey. Day after tomorrow is the 13th.
BAILEY: George, how close can you hone in on the target area?
GEORGE: Well, Hambling always chooses a section of road that's at least ten
miles away from an intersection, which leaves us with these two possible
stretches of Missouri 26. There are about 45 miles of road in between.
SAM: He'll hit the same stretch of highway he did before.
BAILEY: We need to bring him to us. John and Sam, I want you to go as decoys.
We'll shadow in the surveillance van. I'll get plenty of backup from the
highway patrol. If you spot Hambling, just give a location signal. Keep your
distance.
(Everyone stands up and leaves.)
CUT TO:
[EXT. HIGHWAY (STOCK) - NIGHT]
(A car drives along the lone stretch of highway.)
[INT. CAR (MOVING) -- NIGHT]
(Playing the decoys, JOHN drives ... as SAM eats.)
SAM: Do you want some?
JOHN: No, not while I'm driving.
SAM: There's a little more coffee, it's not very hot. Do you want?
JOHN: I'm working on a bad case of paper cup stomach as it is.
SAM: Hmm.
(SAM drinks her coffee.)
JOHN: We should check again.
CUT TO:
[EXT. SIDE OF THE ROAD -- NIGHT]
(BAILEY slips into the van covered by a brown-colored tarp.)
[INT. VAN - NIGHT]
(BAILEY and JOHN wait and monitor the tracking devices.)
JOHN: (from radio) What time you guys got?
GEORGE: At the tone, seven seconds past the midnight hour.
INTERCUT WITH:
[INT. CAR (MOVING) - NIGHT]
(JOHN talks into the radio.)
JOHN: Should be time to rock 'n roll, but we haven't seen a truck for the last
twenty minutes.
BAILEY: (to radio) Be patient, John. He's out there.
(JOHN continues to travel along the highway.)
(Behind them, a big-rig trailer approaches them. He honks his horn at them.)
SAM: We got company.
JOHN: (to radio) Six o'clock, coming fast.
(The truck overtakes them.)
SAM: Jesus.
JOHN: Guy's doing at least 80.
SAM: Where's a cop when you need one?
(In the car, BAILEY and GEORGE listen.)
JOHN: (from radio) False alarm.
(Another truck approaches them from behind.)
(Close-up of a watch face shows that it's now
SUN 4 13
12:01:07 )
(The truck driver slips a cassette tape into the player. "Sunshine of your
love" plays. He slips on his helmet.
(Inside the car, they see the truck's lights approaching them from behind. SAM
watches the lights.)
SAM: What's this guy doing?
(JOHN continues to drive.)
LYRICS:
It's getting near dawn / when lights close their tired eyes / I'll soon be with
you, my love / to give you my dawn surprise /
(The truck overtakes them.)
LYRICS:
I'll be with you, darling, soon / I'll be with you when the stars start
falling /
(Once in front of them, the truck slows down.)
LYRICS:
I've been waiting so long / to be where I'm going / in the sunshine of your
love
(The truck puts his blinkers on and slowly drives partially off the road
allowing room for the car behind him to pass. He signals for JOHN to pass.)
(SAM watches the driver's behavior.)
(JOHN speeds up to overtake the truck, but the truck speeds up, too.)
(As they reach the level of the truck driver, SAM looks out of her window and
sees "Bug Head" at the wheel.)
(Quick flash of: DAVID HAMBLING as a child looking out the back car window.
Resume to present.)
SAM: It's him.
JOHN: (to radio) We got him.
BAILEY: Stay behind him, John. It's safer.
(As JOHN slows down, the truck driver slows down.)
JOHN: Son of a bitch.
SAM: This is how he does it, until another car comes the other way.
JOHN: (to radio) He's speeding up. He won't let us pass.
[EXT. ROAD BLOCK - NIGHT -- CONTINUOUS]
(BAILEY stands outside the van as the other OFFICERS take up their positions
behind the road block.)
(The truck driver continues to keep JOHN in the on-coming lane.)
(JOHN speeds up, but the truck speeds up also.)
(In front of them, they continue to race toward the road block.)
(The truck driver honks his horn. Finally, he stops.)
(JOHN stops next to him. The OFFICERS hurry toward the truck. SAM steps out of
the car.)
VOICE: Hambling, get out of the truck. We've got you covered from all four
sides.
(The truck door opens and HAMBLING steps out. His left leg is a prosthetic. He
limps out to the center of the road.)
BAILEY: Hold your fire. Hambling, F.B.I.! (BAILEY rushes toward him.) Get on
the ground with your arms spread. Now!
(SAM runs toward them to stop him. JOHN has his gun out covering SAM.)
SAM: Bailey!
[HAMBLING'S POV]
(Through the helmet visor, he sees SAM and JOHN. SAM stops in front of him.)
SAM: Davey ...
JOHN: Could be armed, Sam.
SAM: It's ok. Davey, we're not gonna hurt you, all right? We want to help
you.
(DAVEY looks back at the officers at the road block. He looks at his truck,
then back at SAM.)
SAM: Now, I want you to come with us, ok? I want to help you. I want to help
you find your mother and your father, all right? Come with us.
(DAVEY stares at SAM. He pauses a moment, then nods slightly. He reaches up
and removes his helmet.)
(A couple of officers rush forward and handcuff DAVEY.)
(The officers also open the back of DAVEY'S truck.)
OFFICER: You guys better take a look. There's something back here.
(JOHN, BAILEY and SAM head for the back of the truck. Inside, they find a
gurney. At the back of the truck, they open the refrigeration unit. In the
back are the dead couples.)
(Quick overlay flash of: The photo of the HAMBLINGS. Resume to present.)
SAM: He's been recreating the accident again and again, trying to save his
parents, collecting parts of their cars, parts of them, so that he could make
them whole. But he couldn't.
CUT TO:
[INT. VCTF - COMMAND CENTER - NIGHT]
(GEORGE is working on the laptop when JOHN walks in carrying his cup of coffee.)
JOHN: You've been here all night?
GEORGE: Uh-huh.
JOHN: You should go home. You've been putting in a lot of hours.
GEORGE: In a bit. This legal bureaucracy of ours is such a tangle. What's the
latest on our friend Luke Dickerson?
JOHN: He confessed, then flip-flopped. Turned it around, said it was coerced.
They threw out the case. But don't worry. He's a repeat offender. He'll be
back behind bars before you know it.
GEORGE: Yes, he will.
(GEORGE continues to type rapidly on his laptop. Intrigued, JOHN gets up from
his seat to look over GEORGE'S shoulders.)
GEORGE: Luke Dickerson's a victim of the system. He's got failures to appear
on assault, armed robbery, jumped bail in seven states, yet no one has gotten
around to issuing the fugitive warrants he has coming.
(As he speaks, the various PENDING WARRANTS flash on screen.)
JOHN: Until now.
GEORGE: Uh-huh. He won't even be able to walk the streets without getting
picked up. And the penalties add up to years behind bars. And I am loving it.
(JOHN smiles, then leaves GEORGE to continue his brand of justice.)
CUT TO:
[EXT. SAM'S PLACE - NIGHT]
[INT. SAM'S PLACE -- NIGHT]
(JOHN and ANGEL are kissing on her couch.)
ANGEL: Um ... uh, this was not what I had planned. I, um, invited you over to
thank you for being such a good guy about the class.
JOHN: And I was just telling you how I wanted to come back. Then did I kiss
you, or did you kiss me?
(ANGEL laughs, leans forward and kisses JOHN.)
ANGEL: That time, I kissed you. Is there gonna be a next time?
JOHN: Why not? I enjoy talking to them. I feel like a kid most of the time
myself.
ANGEL: Have you ever considered teaching or--
(Angel shifts and accidentally clinks glasses with JOHN. They laugh.)
ANGEL: Cheers.
JOHN: Cheers. Not until I was up in front of your class. Gave me a couple of
fantasies.
ANGEL: Yeah. Teaching can be really fun.
JOHN: They weren't about teaching.
(She puts her glass aside, leans forward and they kiss again.)
CUT TO:
[EXT. ST. ANGELA'S -- GARDEN -- NIGHT]
(JACK hits the shovel in the ground a couple of times. He pats the dirt around
the newly planted rose bush.)
JACK: Mary, Mary, so contrary ... Grow this.
(Camera rises and shows the rose bush on:
SISTER MARY
BELOVED BRIDE OF CHRIST
1937-1997
FADE TO BLACK.
==========================
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
1X18: BLUE HIGHWAYS
ORIGINAL AIR DATE ON NBC: 04/05/1997
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
HEATHER McCOMB as Frances Malone
JAMES PARKS
VICTOR WILLIAMS
CLEMENT E. BLAKE as Emmett
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: JEAN GENNIS & PHYLLIS MURPHY
Directed by: MICHAEL PATTINSON
==========================
END CREDITS
==========================
Sanders/Moses Productions
NBC Studios
NBC Enterprises
Also starring
KATE WILLIAMSON as Lillian Rutherford
JOHN MAHON as Detective Spitz
TED ROONEY as Ben
JAMES BOZIAN as Worker #1
PETER JAMES SMITH as Danny
JF PRYOR as Clint
MICHAEL GALEOTA as Ace
DEJANI JONES as Patty
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: KAREN STERN, 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: SUSAN SCHMIDT
Post Production Supervisor: KENNETH RAICH
Computer Graphics: PAUL LeBLANC
Assistant Editor: KERRY MICHAEL TYM
Insert Coordinator: CRAIG FELLER
Playback Supervisor: BOB MORGENROTH
Post Production Coordinator: TINA TRIVAN
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: MARK INTRAVARTOLO
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:06/20/2004~lky
http://www.webphilia.com/~anthology/wnp.html