PROFILER
1X19: FTX: FIELD TRAINING EXERCISE
ORIGINAL AIR DATE ON NBC: 04/12/1997
TRANSCRIBED FROM DVD
Written by: GEORGE GEIGER and CHARLES D. HOLLAND
Directed by: MICHAEL LANGE
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: The FBI uses a routine Field Training Exercise (FTX) to flush out a
mole selling top secret information on some of their more delicate projects.
Bailey's personal life is exposed as are the personal lives of the other members
of the team.
==========================
PROFILER
1X19: FTX: FIELD TRAINING EXERCISE
==========================
FADE IN.
[RAZOR]
(A man uses a straight-edged razor to shave off a portion of the hair on his
chest. Once he has a sufficient patch shaved off, he places the body mike on
his chest and secures it in place with a piece of tape.)
(He buttons up his shirt, straightens his shoulders and prepares to get out of
the car.)
[INT./EXT. CAR - NIGHT -- CONTINUOUS]
(TED FIORELLO opens the car door and steps outside. He walks the short distance
toward the warehouse.)
[INT. WAREHOUSE - NIGHT - CONTINUOUS]
(TED FIORELLO opens the warehouse door and walks into the darkened room.)
(There are several cuts of:
* A pair of handcuffs dangle from the handle.
* A pair of hands tests a thick piece of wiring.
(TED FIORELLO calls out into the darkness.)
TED FIORELLO: Mr. O'Connor?
(He closes the door behind him.)
TED FIORELLO: It's Ted Fiorello.
(He looks around the quiet warehouse and sees no one around. He walks further
into the warehouse.)
(He hears movement and pulls out his gun.)
TED FIORELLO: What the hell is that? Is that you, O'Connor?
(O'CONNOR walks out and turns on the blow torch in his hands.)
CAHILL O'CONNOR: Promised you I'd be here, didn't I? And I keep my promises.
(A second man jumps TED FIORELLO from behind rapping a thick piece of wire
around his neck, choking him. TED FIORELLO screams in pain as a third man
punches him in the stomach.)
(He hits him again and again, then stuffs a piece of sponge down TED FIORELLO'S
mouth as he yells. He covers his mouth with a piece of clear plastic tape.)
(TED FIORELLO starts to struggle. The THUGS drag him over to CAHILL O'CONNOR
who has taken off his coat.)
CAHILL O'CONNOR: Up here.
(The two THUGS carry TED FIORELLO struggling over to the table. They place him
on the table as CAHILL O'CONNOR dons on his protective face mask.)
THUG 1: Unh! Come on. Come on!
(The THUGS secure TED FIORELLO to the table and tap him on the chest when done
leaving him struggling against his bonds.)
CAHILL O'CONNOR: I hear you, Teddy, but promises are promises.
(The table starts to tilt forward to a vertical position. CAHILL O'CONNOR puts
his gloves on and picks up the blow torch.)
CAHILL O'CONNOR: You promised I could trust you, but I think you lied.
TED FIORELLO: Hmmp! Mmpf mpf! Hmm?
(Desperate, TED FIORELLO struggles against his bonds. CAHILL O'CONNOR puts his
mask down. He brings the blow torch down on TED FIORELLO.)
(We see the fire's reflection in the mask and hear TED FIORELLO'S muffled
screams.)
FADE TO
END OF TEASER
ROLL TITLE CREDITS
FADE IN.
[INT. JACK'S PLACE]
(JACK works in his workshop. He sits at his desk rummaging through various tax
documents and paperwork. He flips through manuals and books and types into the
computer. Just like everyone else, he has taxes to turn in and fills out those
nasty forms like everyone else.)
(Camera zooms in on:
OTHER
MISCELLANEOUS
DEDUCTIONS
(JACK tosses some bills on the computer keyboard - twenties and hundreds. )
CUT TO:
[EXT. FBI BUILDING (STOCK) - DAY]
(A bus passes by.)
[INT. VCTF - COMMAND CENTER- DAY]
(SAM puts the photo on the open file on the table. She sighs.)
SAM: Well, timing fits. Grace said that the body was in the ground about four
months.
(NATHAN leans over her to look at the file.)
NATHAN: (reading file) Kay Lee Norris, 27. Drove for Dixie States Overland.
She went missing two days after your friend Angel was saved from Jack by a lady
truck driver.
SAM: He hunted her down, and he killed her.
NATHAN: No good deed goes unpunished. We'll start by confirming that she drove
that route.
(The overhead beeps twice.)
P.A.: Please assemble at the command center for a briefing on the field training
exercise at 0900.
NATHAN: I forgot about that damn thing.
(SAM stands up.)
SAM: Yeah. Hey, uh, Nathan, uh ... any way I can get a copy of these, please?
NATHAN: No problem. Instead of catching killers, we have to waste our time
with an FTX.
(MICHELLE walks up to NATHAN. He sees her and stops what he's doing to stare at
her. SAM drops her files on the floor.)
SAM: Oh! Shee!
(SAM kneels down to pick up her files. NATHAN continues to stare at MICHELLE,
his jaw opened, surprised to see her there.)
MICHELLE BRUBAKER: Hi, Nate.
(NATHAN closes hit mouth.)
MICHELLE BRUBAKER: I guess I should've called first, huh?
(NATHAN remembers his manners and makes the introductions.)
NATHAN: Uh ... Sam, I don't think you've ever met my wife before. Michelle.
Michelle Brubaker.
(SAM stands up with her files and smiles. They shake hands.)
MICHELLE BRUBAKER: Nice meeting you.
SAM: Very nice meeting you. (to NATHAN) I'll see you there.
(SAM waves to NATHAN and leaves.)
MICHELLE BRUBAKER: I'm taking depositions in our Atlanta office all week. So I
... thought I'd drop by.
NATHAN: Well, it's a bad morning. We're right in the middle of a training
exercise, and--
MICHELLE BRUBAKER: Is there some place we can talk?
NATHAN: I've got about five minutes, Michelle.
(He leads her to an office.)
[INT. VCTF - OFFICE - DAY - CONTINUOUS]
(MICHELLE follows NATHAN in to the office. She puts her briefcase down, opens
it and takes out the papers. She hands them to him. He takes them and looks at
them - they're divorce papers.)
Summons -
Notice to Respondent (Name): NATHAN BRUBAKER
Aviso Al Demandado (Nombre):
You are being sued. A usted le estan demanda-
Petitioner's Name is: MICHELLE BRUBAKER
Del Demandante es:
DIVORCE PROCEEDING
MICHELLE BRUBAKER: I've been talking to my folks, and I spent some time with
your mother. Look, we're friends, Nate, and I needed her advice. She agrees
with me. It's stupid to go on like this if you insist on staying with the
Bureau.
NATHAN: Yeah, maybe. (NATHAN looks down at the papers in his hands.)
Probably. But I like how you always pitch this so I'm the one who has to change
or else.
MICHELLE BRUBAKER: Well, that's kind of the way it is. I'm still the same
person I was when we were married.
NATHAN: You're the one that took the big left turn. If all I did every day was
to hold your clients' hands through living trust and probate hearings, I'd die.
This is my job. It makes a difference.
MICHELLE BRUBAKER: And one day it might get you killed. It's an amicable
divorce. The court considers the fact that we've been apart nearly a year, and,
essentially, we just cease being married.
(She picks up the pen and hands it to him.)
MICHELLE BRUBAKER: Doing this is terrible for me, too, Nate. But not doing it
is worse.
(He stares at her, then takes the pen from her.)
CUT TO:
[INT. VCTF - BAILEY'S OFFICE -- DAY]
(BAILEY is on the phone with ELLEN BEHAR.)
BAILEY: (to phone) So how does this sound? Sea Island, Cabana on the beach
...
INTERCUT WITH:
ELLEN BEHAR: Mmm.
BAILEY: Just you and me ... and the waves. You know, they say that pounding
waves release massive amounts of ions, and ions are sexy.
ELLEN BEHAR: Why do you need ions, Malone, when you've got me? (He laughs.)
But I can't go. Art just came back from San Diego.
BAILEY: Wait a minute. Haven't you been separated for over a year? Correct me
if I'm wrong, Ellen, but I was under the impression that you were in charge of
your life, not Art Behar.
ELLEN BEHAR: He hopes we can straighten things out.
BAILEY: And what do you hope for?
ELLEN BEHAR: Tell me about the ion thing again.
BAILEY: Well, you can beg me when we get there. I've got to go. I'll talk to
you later.
ELLEN BEHAR: Bye.
BAILEY: Yeah. Bye.
(BAILEY hangs up.)
(Quick flashback to:
[INT. BAILEY'S BEDROOM -- NIGHT]
(BAILEY walks up to ELLEN and gently touches her face in a tender moment.)
BAILEY: I'm crazy about you.
(She reaches up and wraps her arms around his neck. They kiss.)
(End of flashback. Resume to present.)
(BAILEY looks at the yellow EYES ONLY pouch on his desk. He picks it up and
walks it over to the small safe in his office. He opens the safe and tucks the
pouch inside.)
(There's a knock at his door. BAILEY looks up and sees a familiar face. He
smiles.)
BAILEY: Ed.
(ED PORTRERO walks into the office and closes the door behind him. BAILEY
laughs and gives ED a friendly hug.)
BAILEY: How're you doing?
ED PORTRERO: All right.
BAILEY: How are you? It's been three years, huh?
(They shake hands.)
ED PORTRERO: Just about.
BAILEY: So what've you got up your sleeve for us? I heard it took Dallas 36
hours to crack this one. I got a box of cigars says we can do it better.
(BAILEY takes a seat at his desk. ED PORTRERO doesn't share BAILEY'S humor.)
ED PORTRERO: (seriously) It's not a game this time.
BAILEY: Oh, it's never a game to you desk jockeys. What's up?
ED PORTRERO: We've got a mole in the bureau selling our covert operations.
BAILEY: Not here.
(ED walks over to BAILEY'S desk and sits down.)
ED PORTRERO: Well, actually, we haven't ruled that out. You know Ted Fiorello?
BAILEY: Of course. He was undercover with the O'Connor mob for the last six
months. I was on the tactical advisory board for the whole thing.
ED PORTRERO: Well, we think this mole fingered him to Cahill O'Connor, and
that's why O'Connor torched him. It was terrible.
BAILEY: Why wasn't I told?
ED PORTRERO: That's why I'm here.
BAILEY: I see.
ED PORTRERO: I'm digging for the mole using these Field Training Exercises as a
cover.
BAILEY: Well, you're not gonna find him at the VCTF.
ED PORTRERO: Between agents and staff, you've got 65 people cleared for this
facility. How can you be sure one of them hasn't figured out a way to get a
look at your secret communications?
BAILEY: You know damn well those are eyes only. They never leave my desk.
(beat) You're accusing me?
(There's a pause.)
ED PORTRERO: No. I'm not. But I've already cleared Dallas, San Diego and
Boston, so he's either got to be in New York or here. We don't copy the details
of our undercover work to anyone else.
BAILEY: Well, I know my people, Ed. They do not sell covert intelligence to
organized crime.
ED PORTRERO: I hope you're right. So far, I'm only giving you the straight
facts. I want this FTX to shake things up, and hopefully, flush our mole out in
the open so when I brief your people, I'm gonna mix up the truth a little bit,
create some intentional discord. Oh, I brought a referee with me to help. You
know Agent Behar?
BAILEY: Behar ... Art Behar?
ED PORTRERO: Yeah. I called him back from San Diego for this.
BAILEY: (chuckles ironically) Oh ... let's say I've heard a lot about him.
(ED nods and reaches for the door.)
CUT TO:
[INT. VCTF - COMMAND CENTER -- DAY]
(BAILEY briefs the team.)
BAILEY: Ok, people, here's the drill. For those of you who've never
participated in an FTX, it's kind of a war game, a fictitious problem to test
how we work as a unit for as long as it takes.
(NATHAN walks into the room.)
BAILEY: Now, deputy director Ed Portrero from Quantico is gonna run the
exercise.
(NATHAN takes the seat next to JOHN.)
BAILEY: Ed?
(BAILEY sits down and ED PORTRERO stands up.)
ED PORTRERO: Thank you. That means I'm god, and from here on, reality is only
what I say it is. Agent Ted Fiorello was killed two weeks ago in Cleveland.
(As he starts, pictures of TED FIORELLO, the blow torch, and the mike and the
body mike appear on the wall monitor.)
ED PORTRERO: Some say he deserved it, that he was dirty. He was selling
information to the O'Connor syndicate, and it seems O'Connor finally got tired
of paying. The fact Fiorello went bad is less important to us than how we let
it happen. The code of silence, the buddy system, that's our enemy. Someone in
this VCTF is carrying on where Fiorello left off. There's a mole in this room,
and I want you to find him.
GEORGE: Well, a few weasels in here I know about, but no moles.
(The room chuckles.)
ART BEHAR: You can't afford not to take this seriously, Freleng.
ED PORTRERO: Exactly. So here's what you're looking for -- an eyes only
briefing memo copied by the mole.
(A sample memo appears on the monitor. It reads:
[ **SAMPLE**
TOP SECRET EYES ONLY
To: Bailey Malone
From: Edward Portrero
Date: December 5, 1996
Re: O'Connor Syndicate
As of right now we have five agents in Cleveland, Ohio that
have or shortly will infiltrate Organized Crime in the
Cleveland metro area, with particular focus on the O'Connor
crime Syndicate. It has been one of the most difficult
infiltration in recent memory, so the measures we take to
maintain our cover are of the utmost importance.
At this point in time, we have two agents that have
infiltrated the O'Connor group. Agent Ted Fiorello and Agent
Bert Glatstein are both in, although Fiorello is in much
deeper than Glatstein. Their Agency contract in Cleveland is
Dan Dobson, and he works at Lynn's World of Bagels on the
corner of Third Avenue and ... ]
ED PORTRERO: He or she has hidden it in the VCTF. Details of an undercover mob
infiltration that could get more agents killed.
(ED PORTRERO lifts up GEORGE'S laptop and shows a round, blue sticker on the
underside.)
ED PORTRERO: See a blue dot? Don't waste your time. You're cold. Put them on
files, desks, the obvious places. You'll have to be more clever. Just initial
it and move on.
(He puts the laptop back down on the table and takes a step back. SAM is
already profiling the case and the killer. Something's not right.)
(Quick flashback to: TED FIORELLO, the body mike, O'CONNOR and the blowtorch.
Resume to present.)
ED PORTRERO: Let's get started.
(She raises her hand.)
SAM: Uh, uh, just--I'd like to be clear here. For the purpose of the exercise,
one of us is a mole?
ED PORTRERO: Yes, for the purpose of the exercise, I've made one of you a
traitor.
CUT TO:
[INT. VCTF - BULLPEN - DAY - SHORT TIME LATER]
(The meeting has finished. SAM walks and talks with BAILEY.)
SAM: What's Portrero up to, Bailey?
BAILEY: An FTX.
SAM: Yeah, I heard, but that doesn't make sense. I mean, come on, you saw
those photos. Fiorello was supposedly on O'Connor's payroll, and he wasn't
wired or anything?
BAILEY: I'm under orders not to confirm anything, Sam.
SAM: Why? Do they think there's a real mole here in the Task Force?
BAILEY: It's more than an exercise. That's all I can say about it. When I was
called back to D.C. last week, it was only the first volley. I was really
caught off-guard.
(Quick flashback to: [CONFERENCE ROOM] BAILEY sits across the large conference
table.)
BAILEY: It's awfully cold in here. So, what exactly am I being accused of?
MAN 1: You're not being accused of anything. Everyone values your service,
Agent Malone. But there have been some ... irregularities.
BAILEY: I've done nothing improper.
MAN 2: Concerns have been raised about improper methods, illegal wiretapping,
dubious informants -
BAILEY: By whom?
MAN 1: Take care you make no accusations, Malone.
BAILEY: I will not be dictated to or have my integrity questioned.
(BAILEY puts his badge on the table.)
BAILEY: You choose.
(End of flashback. Resume to present.)
(They walk into his office.)
BAILEY: Just watch my back for me, Sam. I've got the feeling the sniper scope
is pointed between my shoulder blades.
(SAM nods. BAILEY turns around and sees ART BEHAR standing outside watching
them through the glass window.)
CUT TO:
[INT. VCTF - COMMAND CENTER - DAY -- LATER]
(GEORGE explains what they're looking for to NATHAN and JOHN.)
GEORGE: Eyes only security memos come by courier or encrypted e-mail, and they
never leave Bailey's office.
NATHAN: Which, I assume, is why we're looking for a copy.
GEORGE: Ok, here's the password.
JOHN: So let's use a copy machine.
GEORGE: No, you'd get caught. Like, every square inch of this place has got a
security camera on it.
GRACE: Besides, you can't copy it. It's printed on non-copy blue which was
developed for anti-counterfeit protection.
GEORGE: You can't fax it, you can't scan it. You need special lenses to take a
photo of it. The CIA makes a special paper that you can sandwich to it, and
expose it to a bright light, but that's the only way. 132-bit encryption. You
need ten million monkeys to hack your way into that.
JOHN: Thanks.
(JOHN turns away.)
JOHN: Nathan.
(He catches NATHAN'S eye and they both leave the command center quietly to start
their search for the mole.)
CUT TO:
[INT. VCTF - FORENSIC LAB - DAY - SHORT TIME LATER]
(JOHN and NATHAN walk into the forensic lab - Grace's area of the VCTF.)
JOHN: Grace is the least likely one of us to suspect, so I say she's the one
Portrero made his mole.
NATHAN: Ah, the Perry Mason School of Deduction. So, how serious do we get?
JOHN: This is an FTX, Nate. Either we waste our time trying to think things
through, or we do what he wants us to do: Invade each others' privacy.
NATHAN: I'll dump out her desk.
JOHN: Great.
(They immediately start to search the office.)
JOHN: Ok, blue dot.
(JOHN looks at the machinery while NATHAN settles behind GRACE'S desk.)
JOHN: No ... the chemical's too messy.
(JOHN looks at coffee pot while NATHAN searches her desk drawers.)
JOHN: But ... too hot.
(JOHN turns away from the coffee pot and looks for the next best thing ... )
JOHN: Autopsy table.
(NATHAN opens the next drawer and finds something strange. JOHN kneels under
the table and searches underneath it.)
NATHAN: Whoa, John, check it out.
JOHN: What?
NATHAN: Grace has got a book about being pregnant. (reads the title) "What
your mother wouldn't tell you."
(He picks it up and looks at it.)
JOHN: Uh-uh, pass. It's a reference.
NATHAN: Uh, no. This is a gift from her husband. "Only eight months to read
this and counting. Morgan."
(JOHN finds this very interesting. He moves over to the desk to help NATHAN
search.)
JOHN: Grace is pregnant? Why didn't she tell us?
NATHAN: She obviously didn't want us to know. Now I feel lousy.
JOHN: Me, too. Still ... pregnant women aren't supposed to have caffeine, are
they?
(They both turn their heads and look pointedly at the hot coffee machine at the
opposite side of the room.)
NATHAN: Nope.
(beat)
NATHAN: So ... what is Grace doing with a hot coffee pot?
(pause. Then both men run for the coffee machine.)
[BULLPEN]
JOHN: (loud & proud) All righty, stop the clock!
(Both JOHN and NATHAN walk out of the Forensics Lab with bags of goodies. They
hold them up proudly as they walk across the bullpen.)
JOHN: We got microdots, cameras, special lenses, the whole ugly deal. We found
this little buddy here in Grace's espresso.
SAM: Grace, you little snake!
GRACE: Portrero made me do it. Kind of a short career as a mole, though, huh?
How'd you find it?
NATHAN: Elementary. And you're not drinking that much java these days, are
you, "mom"?
(NATHAN looks pointedly at GRACE. GRACE looks at JOHN who is smiling smugly at
her. Her secret's out.)
GRACE: Who told you?
JOHN: (spills the beans) Nathan went through your desk. He found your "I'm
pregnant" book.
SAM: (echoes) "I'm pregnant." (double-takes to GRACE) You're pregnant?
GRACE: Two months. (everyone laughs) I didn't want to say anything until I
was sure --
(SAM gives GRACE a congratulatory hug.)
GRACE: But I am. I'm sure.
SAM: Oh, That's wonderful!
(JOHN hugs GRACE.)
JOHN: Congratulations.
GRACE: Thank you. (She hugs BAILEY.) Thank you. I will. Thank you.
(BAILEY looks up at ED who walks out of the office with ART BEHAR.)
BAILEY: (across the room) Hey, Ed, we just beat Dallas by 34 hours, 9 minutes,
and ... (he checks his watch) ... 47 seconds.
ED PORTRERO: That's not important now. Behar just found these in your desk.
(He lifts up the EYES ONLY paper packet.)
BAILEY: My desk! What the hell were you doing in my desk?
ART BEHAR: It's government property, Malone. Subject to random security
checks.
ED PORTRERO: A box of paper for making copies of non-photo blue, and three eyes
only briefing memos on Ted Fiorello's undercover work, which should've gone back
to Quantico weeks ago.
BAILEY: I sent them back, Ed, the same day.
ED PORTRERO: Not by the looks of it. I'm sorry, Bailey, but until we get this
straightened out, I'm taking charge of the VCTF. You're suspended.
FADE OUT.
FADE IN.
[EXT. FBI BUILDING (STOCK) - DAY]
[INT. VCTF - BAILEY'S OFFICE - DAY]
BAILEY: It was in that drawer just before you walked in my office. Believe me,
it wasn't in there.
ART BEHAR: But after we started the FTX, you were gone, and your office was
unlocked. Is that S.O.P.?
BAILEY: I don't keep sensitive documents in my desk. I have a safe for that.
(BAIELY walks over to the safe.)
ED PORTRERO: I want those fingerprinted.
BAILEY: Be my guest, Ed. I never saw that box of copy paper. I did send the
memos back to Quantico. If my initials are on them, so are my prints.
ART BEHAR: Oh, of course, but how are you going to prove that somebody planted
them in your desk? I don't see a way out of this for you.
(BAILEY sees the security camera on the ceiling. He points to it.)
BAILEY: You know what? There's your answer.
CUT TO:
[INT. VCTF - COMMAND CENTER - DAY -- LATER]
(The security tape of BAILEY'S desk is on the monitor fast forwarding.)
RON DRESDEN: This is about thirty times normal speed, time of day is 11:07.
JOHN: Did you, uh, you check the gear recently, Ron?
RON DRESDEN: Yes, sir. Scheduled maintenance. No anomalies. Number A-30, the
camera in Agent Malone's office, has less than half its service life.
GEORGE: Dresden is in charge of the video surveillance system. He'd know if
there were any problems.
SAM: Uh, freeze it right there. (They pause the video. ED and ART are
searching BAILEY'S desk.) That's when you found the papers in Bailey's desk.
ED PORTRERO: Right. So we've watched the whole tape. An unbroken record since
the time you arrived before nine. No one touched that desk until we did.
(BAILEY gets to his feet.)
BAILEY: Well, someone had to. Could the machine have popped out of record?
RON DRESDEN: No, sir. If a frame is missing, the computer sounds an alarm.
BAILEY: George?
GEORGE: He's right.
ED PORTRERO: Would you rewind it, please? (The tape starts re-winding.) Art,
go through it frame by frame. This time, in real time with sound, to be sure.
I'm ordering a complete background check, Bailey. Full financial disclosure,
the works. You got a hair out of place, I'll find it.
BAILEY: Yeah, do what you have to do.
(ED gets to his feet.)
ED PORTRERO: Well, you could save us all a lot of time and trouble if you'd go
on the polygraph.
JOHN: No lie detectors, Bailey.
NATHAN: You've seen it backfire on enough suspects.
CUT TO:
[VIDEO]
(The video fast forwards and stops.)
[INT. VCTF - CONFERENCE ROOM -- DAY]
(BAILEY takes a lie detector test administered by JERSEY BRESLO.)
JERSEY BRESLOW: Did you know Ted Fiorello?
BAILEY: We were classmates at the academy.
JERSEY BRESLOW: Did you give information to Cahill O'Connor that Fiorello was
undercover?
BAILEY: Of course not, Jersey.
JERSEY BRESLOW: Just simple answers, Bailey. Did you copy eyes only documents?
BAILEY: No.
JERSEY BRESLOW: You live alone?
BAILEY: Yes. (The needle on the paper starts to jump.) I mean, no. (sighs)
My daughter just started living with me.
JERSEY BRESLOW: Ok. Don't rush, just gather your thoughts. You know how this
thing works. (BAILEY nods.) Are you a mole?
BAILEY: No. I'm a bunny rabbit.
(Tired of it, BAILEY takes off the wires and leaves the room.)
CUT TO:
[INT. VCTF - SAM'S OFFICE -- DAY]
(SAM and BAILEY talk.)
SAM: It was inconclusive, so they'll reject it.
BAILEY: It should've exonerated me, Sam.
SAM: It happens, Bailey. That's why they don't allow those things in court.
(changes subject) So you, Portrero, and Fiorello went to the Academy together?
BAILEY: We were pretty tight. Competitive. It was always One, two, three.
Portrero usually had the jump on us. Graduated first in the class.
SAM: Then why is he running this investigation? He can't be objective.
BAILEY: He's not the only one, Sam. I think I know why I failed the lie
detector test.
(BAILEY sighs.)
CUT TO:
[INT. VCTF - SECURITY ROOM -- DAY]
(ART BEHAR reviews the security video of BAILEY'S office at 7:57 that morning.
BAILEY'S on the phone. BAILEY turns the corner into the room as he hears
himself on the phone with ELLEN. ART blinks. He knows BAILEY'S there.)
BAILEY: (to phone) Haven't you been separated for over a year? I mean,
correct me if I'm wrong, Ellen, but I was under the impression that you were in
charge of your life, not Art Behar. What do you hope for? You didn't seem like
that the last time. You can beg me when we get there.
BAILEY: You don't have to keep watching it.
ART BEHAR: You and Ellen, huh?
BAILEY: She's a wonderful woman, Art. She's a wonderful woman.
ART BEHAR: A wonderful woman ...
(ART turns the video off, stands and turns to look at BAILEY.)
ART BEHAR: Yes, I know. She's my wife. You son of a bitch.
BAILEY: She was your wife. You're separated.
ART BEHAR: And you don't even give a damn that it is on tape for everyone to
hear! You're flaunting it!
BAILEY: I wasn't flaunting it. It's the system. Cameras everywhere constantly
-- we all forget about it sometimes. I'm sorry. It was thoughtless.
ART BEHAR: Thoughtless. You'll have plenty of time to think about it in
Leavenworth.
(ART brushes past BAILEY on his way out the room. Camera hold son BAILEY.)
CUT TO:
[INT. VCTF - BULLPEN -- DAY]
(ED PORTRERO holds his cup of coffee in his hand. He walks around JOHN and
NATHAN as he talks with them.)
ED PORTRERO: You know, they talk about the VCTF at Quantico. Bailey Malone's
little kingdom. Your own set of rules.
(ED sits down on JOHN'S desk.)
JOHN: We use the same book you do.
ED PORTRERO: Not the way I hear it. You remember a few months ago, they sent a
man out from D.C. named Grimes to look around? He filed a report. I read it.
Raised a lot of eyebrows.
(Quick flashback to:
[Scene from 1X09: Sorcerer's Apprentice]
[INT. RESTAURANT KITCHEN -- NIGHT]
(BAILEY walks into the kitchen and finds MOLLY SARGUCCI'S dead body sitting down
on the ground chained to the pole, his I.D. open, his badge pinned to her
chest.)
(He's there for a moment when the police burst into the kitchen.)
POLICE: Turn around! Turn around!
POLICE: Don't move!
(BAILEY turns around and holds up his hands and puts his gun down.)
BAILEY: Relax! Relax!
POLICE: Drop your weapon!
BAILEY: FBI!
(The OFFICER pat's BAILEY down.)
POLICE: Where's your I.D.?
POLICE: Where's your I.D.?
POLICE: Cuff him!
(BAILEY turns and realizes that it's HIS I.D. pinned to MOLLY SARGUCCI'S chest.)
(End of flashback. Resume to present.)
ED PORTRERO: First, Malone claimed Jack of All Trades stole his badge, killed a
woman, pinned her with it. But when Grimes tried to find out more, Malone froze
him out.
(Quick flashback to:
[Scene from 1X10: Shattered Silence]
[INT. NATHAN'S BARN - DAY]
BAILEY: What the hell are you doing?
GRIMES: You know the rules of engagement. When an agent gets burned, we go to
the wall. I'm bringing fifty more agents into town. We're gonna rock and roll
on this clown.
BAILEY: Don't waste your time. This is VCTF business.
GRIMES: This is an up-yours from Jack. This whack has your team in his cross
hairs, and he's gonna quit sending invitations and unload on you. I'm calling
out the cavalry.
BAILEY: (chuckles) Do that and he'll go down so deep we'll need a diving bell
to find him.
GRIMES: How many more people have to die, Malone?
BAILEY: It's my operation, so back off.
(End of flashback. Resume to present.)
ED PORTRERO: (rubbing it in) Jack nearly iced you, too, Brubaker.
(Quick flashback to:
[Scene from 1X10: Shattered Silence]
[INT. NATHAN'S BARN - DAY]
(NATHAN resumes working on his car. He leans back on the dolly and slides under
the car.)
(Once he's in position, JACK turns the knob on the remote causing the jack
holding the car up to trigger and give way. NATHAN cries out as the car crashes
down on him - not enough to crush him, but enough to trap him there and to be at
JACK'S mercy.)
(End of flashback. Resume to present.)
ED PORTRERO: Grimes told me you weren't too happy the way Malone handled it.
In fact, you were all set to request additional help from the bureau, right?
NATHAN: I was angry.
ED PORTRERO: It doesn't mean you were wrong. Malone turned down your request,
didn't he?
(NATHAN and JOHN remain silent.)
ED PORTRERO: Who's surprised?
(PORTRERO takes a sip of his coffee, turns and leaves. NATHAN sighs.)
CUT TO:
[INT. VCTF -- COMMAND CENTER]
GEORGE: Looks like Portrero and Fiorello were partners after graduation.
(GEORGE and SAM look at the information on ED PORTRERO he put up on the wall
monitor.)
U.S. DEPARTMENT OF JUSTICE
FEDERAL BUREAU OF INVESTIGATION
FIRST NAME: EDWARD
MIDDLE INITIAL: D.
LAST NAME: PORTRERO
SEX: MALE
RACE: CAUC.
HEIGHT: 6'2"
WEIGHT: 185
EYES: BROWN
HAIR: BROWN
DATE OF BIRTH: 1-20-51
PLACE OF BIRTH: ST. LOUIS, MO
SOC SEC #: 555-52-7361
RESIDENCE: LOS ANGELES, CA
OCCUPATION: FBI INTERNAL AFFAIRS
ED PORTRERO [R#567-988]
(Second Screen)
FIRST NAME: THEODORE
MIDDLE INITIAL: F.
LAST NAME: FIORELLO
SEX: MALE
RACE: CAUC.
HEIGHT: 5'8 1/2"
WEIGHT: 150
EYES: HAZEL
HAIR: BROWN
DATE OF BIRTH: 6-15-52
PLACE OF BIRTH: BOSTON, MA
SOC SEC #:
TED FIORELLO [R#567-981]
(Third Screen)
1974 Graduate, University of Michigan
1974 Attended the FBI Academy
1975-78 Served in the U.S. Army
1975 Assigned to Special Forces
1975 Promoted to Captain
1976 Completed Tour of Duty in South America During
which time he completed Special Training with the CIA in
Undercover Operations
1977 Awarded Two Silver Stars, Three Bronze Stars
1978 On returning to the U.S., Received Special Permission
to continue training with the CIA in anti-terrorist Operations
1979 Returned to University of Michigan Graduate School
1981 Received Masters Degree in Criminology
1982 Joined New York State Police as Commanding Officer in
Charge of Training Special Task Force Members
(continued) ...
TED FIORELLO [r#567-981]
(He scans through the screens.)
GEORGE: High marks. Bailey was right. Very competitive in all categories.
SAM: How did Portrero get out of fieldwork at such a young age?
(GEORGE puts up the screen when the office alarm sounds. A map of the office
appears on screen showing where the security alert is coming from.)
(SECURITY ALERT: FORENSICS LAB)
(A different, higher-pitched alarm sounds. In the background, other agents
scramble.)
GEORGE: Somebody pushed the panic button.
(SAM stands and heads for the forensics lab. GEORGE gets to work on the lap
top.)
[INT. VCTF - FORENSICS LAB - DAY - CONTINUOUS]
(The agents rush into the forensics lab. GRACE heads out of the lab to meet
with SAM and NATHAN.)
GRACE: I just found him.
SAM: Who pulled the alarm?
GRACE: I did.
NATHAN: What happened?
(GRACE turns back into the lab to show them.)
GRACE: Come on. It's Portrero.
(She shows them the Biohazard shower where ED PORTRERO is dead, slumped against
the glass door, his mouth bloody. On his chest is his badge.)
(SAM has a quick flashback to:
[Scene from 1X09: Sorcerer's Apprentice]
[INT. RESTAURANT KITCHEN -- NIGHT]
(MOLLY SARGUCCI'S dead body is sitting down on the ground and chained to the
pole, BAILEY'S I.D. open, his badge pinned to her chest.)
(Focus in on the badge pinned to her chest.)
(End of flashback. Resume to present.)
(SAM notes the badge. BAILEY steps forward and looks at his friend. He also
notes the badge on the body. He closes his eyes for a moment at the
similarities.)
FADE OUT.
FADE IN.
[INT. VCTF - COMMAND CENTER -- DAY]
(BAILEY walks into the command center.)
GEORGE: Okay, here we go.
(GEORGE puts up the security camera footage. ART BEHAR stands in front of the
monitor watching as ED PORTRERO adjusts the camera, checking it for something.)
(Everyone is sitting at the table. BAILEY walks in and takes a seat on the
steps. SAM looks up and notes his entrance.)
SAM: You okay?
(BAILEY barely nods absently.)
GEORGE: This is when Portrero was stabbed.
(ED PORTRERO is on the camera and we note the moment that he's stabbed from
behind. BAILEY closes his eyes and puts his head down in his hands. Blood
leaks from ED'S mouth, he knocks into the camera then presumably falls. The
camera goes fuzzy.)
ART BEHAR: The camera had been tagged with a blue dot. Portrero was checking
to see if it had been initialed. He was still grading it for Quantico when you
took advantage, didn't you?
(ART turns and addresses BAILEY.)
BAILEY: What are you talking about?
ART BEHAR: You're an ex-marine with expertise in knife fighting. Portrero's
investigating you for treason, a hanging offense. Is that clear enough for you?
SAM: That's ludicrous, Behar.
NATHAN: Bailey Malone is the best there is. This is a disgrace.
ART BEHAR: Disgrace is right! I have suspects everywhere I look. Sam came out
of retirement to work with Bailey. That alone suggests working in concert.
George here convicted of illegal hacking, and John Grant? You drive a Porsche
and have a second home in the country on government pay? I will see justice
done.
(Glaring at BAILEY, ART exits the room.)
SAM: He's really got it in for you, Bailey.
BAILEY: Since this affects all of you ... I'm involved with Behar's estranged
wife. We've been seeing each other. He found out while reviewing surveillance
tapes of my office. I was on the phone with her.
JOHN: Behar heard it?
NATHAN: Well, we'll just have to find the killer ourselves.
BAILEY: I don't want any one of you jeopardizing yourselves trying to help me,
so you give Behar full cooperation. He'll do everything he can to hurt me.
Unfortunately, that includes hurting you. So, be prepared.
(BAILEY stands up.)
BAILEY: He'll search your homes. He'll question your family, loved ones.
He'll get into your private lives.
(He turns and leaves the room. Camera holds on SAM.)
CUT TO:
[INT. VCTF - FORENSICS LAB - DAY]
(GRACE grabs some of ED PORTRERO'S innards and puts it on the scale. BAILEY
pushes the curtain aside and walks into the area. NATHAN and SAM are already
there.)
BAILEY: What's the word?
GRACE: I'd say 'Grease', but I'd be dating myself.
(JOHN steps into the curtained area.)
JOHN: Passed Behar on the way in. He looked cheerful as usual.
GRACE: I just told him that the body is clean and the killer did not leave
behind any blood, skin, hair, or fiber.
NATHAN: So, no physical evidence.
GRACE: But what I didn't tell him was that the angle of the wounds and the way
Portrero was lifted is almost identical to the M.O. that Jack uses.
(Quick flashback to:
[Scene from 1X06: Modus Operandi]
(JACK grabs two knives off the block from the kitchen. PAPA DOC turns around.
JACK stabs him in a frenzy.)
(End of flashback. Resume to present.)
SAM: Papa Doc.
GRACE: One difference. Portrero was lifted from behind. The shape and the
length of the wounds indicates nearly an identical blade to Jack's.
SAM: So, the killer could have used any one of those scalpels, but he chose
weapons to mirror Jack.
NATHAN: Is it Jack announcing himself?
JOHN: If Jack was in the VCTF, it'd explain a lot.
NATHAN: Yeah, like how he was able to get into our computer system.
SAM: No. If Jack used the same technique, he would have duplicated it exactly.
GRACE: Which means that he would have killed Portrero from the front.
SAM: Mm-hmm.
GRACE: (nods) Mm-hmm.
BAILEY: It's not Jack. We've had too many safeguards and security upgrades
since his last stunt.
JOHN: What if he already had clearance? He was in the Task Force all along?
[JACK'S PLACE]
(JACK works on his computer. He works on his taxes. Various bar and pie graphs
appear on the computer monitor. Various repetitive cuts of JACK on the computer
and of the graphs on screen.)
JACK: (sighs) "Oh, what a tangled web we weave."
(Focus on the computer screen and the multiple graphs as they pop-up.)
CUT TO:
[INT. VCTF - BULLPEN]
(GEORGE fills the group in as they head down into the bullpen.)
GEORGE: Eleven hits on Task Force men with backgrounds unconfirmed by in-person
interviews. These are people who either live a lot of time overseas, or who
work in fields that are specialized.
SAM: Jack wouldn't steal documents for monetary gain.
BAILEY: Sam's right. When Jack steals, it's to gain power. He'll shed blood
before power.
SAM: And he doesn't shed blood indiscriminately. When he kills, it's usually
to affect me, but I didn't know Portrero or Fiorello. When Jack attacked the
FBI, he didn't kill anyone. It was just a game. Whoever the mole is, it's
still personal.
(Quick flashes of: Focus on the badge pinned to the body. Focus on ED in the
biohazard chamber. Resume to present.)
(SAM shakes her head.)
SAM: He obviously feels persecuted by the Bureau. So, what do? He takes the
badge, the symbol of the FBI, pins it to an agent's corpse, and displays them
both as biohazards. Could it be revenge?
GEORGE: We've got sixty-five people here. Where do we start pointing fingers?
ART BEHAR: (o.s.) Leave that to me. (ART BEHAR appears on the hallway above
them.) Mr. Grant. Your presence is required.
(JOHN turns around looking behind him at BEHAR. He turns back and looks at
BAILEY and SAM. BAILEY nods to JOHN to go. JOHN stands up and walks over to
BEHAR, staring at him not liking how he's being treated.)
(Two OFFICERS accompany JOHN to the OFFICE.)
JOHN: You treat me like a perp? Like I'm going to run?
(The OFFICERS follow JOHN. BAILEY looks at NATHAN and nods for him to go with
JOHN for legal counsel. NATHAN follows.)
NATHAN: I'm coming with you.
ART BEHAR: I'm aware that you're a lawyer, Mr. Brubaker, but if you want to
remain in the FBI, you may want to reconsider impeding a treason investigation.
JOHN: I can handle this.
NATHAN: WE can handle it.
(JOHN and NATHAN turns and walk into the office. BAILEY watches them go, fed up
with the treatment. He drops the file heavily onto the desk.)
CUT TO:
[INT. VCTF -- BAILEY'S OFFICE - CONTINUOUS]
(ART BEHAR places a lock box on the desk in front of JOHN and sits down.)
ART BEHAR: We searched your house and found this hidden in the attic. You want
to open it?
(Before JOHN can answer, NATHAN answers for him.)
NATHAN: No. He has a warrant. He wants to see your reaction to the contents.
He can then testify to those reactions in court.
ART BEHAR: (warning) Brubaker.
NATHAN: John has rights. You want justice. So do I.
(JOHN shrugs and stands up.)
JOHN: Screw it. (He turns the key in the lock and unlocks the box.) There.
(BEHAR opens the box and goes through its contents. He pulls out some papers.)
ART BEHAR: Insurance policy ...
(He pulls out another set of folded papers. JOHN jumps in to identify those for
BEHAR.)
JOHN: It's my grandfather's will leaving me the property that my country house
sits on. (He puts those aside and takes out the next set of papers.) It's the
lease to my Porsche. I wish I could buy one, but I can't afford it.
(BEHAR takes out an envelope with a stack of cash in it. He looks at JOHN.
JOHN shrugs. It is what it is. Cash.)
(BEHAR takes out a small baggie with a bullet inside.)
JOHN: Something taken out of me with a little help from my friends.
(Focus on the bullet in the bag as he remembers: Flashback to: )
[Scene from 1X07: Night Dreams]
(Out of nowhere, JOHN is shot in the shoulder and staggers on his feet. BAILEY
hits the ground rolling. He flips over right-side up and starts shooting. JOHN
falls to the ground. NATHAN runs over to JOHN, grabs and holds him applying
pressure to the wound. BAILEY continues to fire at the gunman. The gunman
takes off in a black car, tires screeching and dust rising behind it.)
(BAILEY continues to fire. JOHN grabs NATHAN.)
NATHAN: Hang in there for me. Just hang in there, all right?
(End of flashback. Resume to present.)
(Camera focuses from JOHN to the bullet in the bag. JOHN turns and looks at
NATHAN who in turn looks down at him. They share a moment.)
(BEHAR reaches into the box and pulls out another set of papers. He reads it,
surprised.)
ART BEHAR: Now, why would an upstanding member of the Federal Bureau of
Investigation go by a different name than the one he was born with?
(NATHAN is surprised by this.)
ART BEHAR: "County of Lincoln, State of Nebraska, "by order of the court, John
O'Doyle shall henceforth be known as John Grant."
(NATHAN reaches for the papers.)
NATHAN: Let me see that. Take the birth certificate, too.
(JOHN remains cool.)
ART BEHAR: John O'Doyle, born to Patrick and Noreen O'Doyle of Boston,
Massachusetts. Patrick O'Doyle is one of the major loan sharks of New England.
Now, I could be wrong, but Cahill O'Connor works for an outfit that's friendly
with your father.
JOHN: Number 1 ... my name is Grant. Number 2, my mother left my father. We
spent the whole of my childhood on the move so that he wouldn't find us. Number
3 ... I never believed that my mother's death was really a car accident. You're
looking at the last person in the world who would help Cahill O'Connor and
Patrick O'Doyle.
(NATHAN puts a supportive hand on JOHN'S shoulder.)
ART BEHAR: Well, if you two are clean, I'd advise you cooperate. Bailey's
going down. Protecting him will only buy you obstruction and conspiracy
charges.
(NATHAN steps forward and tosses the papers back into the box.)
NATHAN: (to JOHN) Let's go.
(JOHN stares at BEHAR.)
ART BEHAR: That's all.
(JOHN gets to his feet and leaves the office with NATHAN.)
CUT TO:
[INT. VCTF - SAM'S OFFICE
(GEORGE walks into the office and reports to SAM and BAILEY.)
GEORGE: I, um, I came up with Jersey Breslow in my past cases search. Kevin
Munt case, serial arson.
(Quick flashback of:
[Scene from 1X02: Ring of Fire]
(KEVIN MUNT stands in the front yard a lighter in one hand, a rat in the other.)
(Cut to: The house is on fire.)
(End of flashback. Resume to present.)
GEORGE: Jersey is listed as the emergency contact for one of the victims. It's
his girlfriend. Now, at the time, he was a forensic science professor at
Illinois State, but he joined the FBI. He volunteered for the VCTF.
BAILEY: Why wasn't this caught on his background check?
GEORGE: Well, Jersey has no family, and, you know, he's kind of a loner, so no
one who's interviewed him even knew about the girlfriend. It's always a loner,
isn't it?
(Quick flashback of:
[Scene from 1X12: Learning from the Masters]
(JERSEY advises BAILEY on a possible murder weapon.)
JERSEY BRESLOW: I can tell you what it's not. It's not a carving knife, it's
not a screwdriver, and it's not a harpoon.
BAILEY: I don't care what it's not, Jersey.
JERSEY BRESLOW: Well, working with an impression made in flesh isn't a plaster
mold. Flesh subsides. I-I-It's fluid. Look, I take a photograph of each
puncture wound, I blow it up, I study it.
BAILEY: A tool like this would be used for what? Piercing? Cutting?
JERSEY BRESLOW: Yes. Prying, sharpening, shaping.
BAILEY: A very specialized blade. Edged on both sides.
JERSEY BRESLOW: mm-hmm.
BAILEY: With feathering. Do we at least have a working name for it?
JERSEY BRESLOW: Oh, sure. "Something sharp people can poke a hole in you
with."
(End of flashback. Resume to present.)
BAILEY: Well, Jersey would know precisely the right weapon to imitate Jack's
kill of Papa Doc. He knows Grace's lab like the back of his hand.
SAM: Maybe he blames us for his girlfriend's death. Jersey may have joined the
Task Force with the express purpose of destroying us.
CUT TO:
[FORENSICS LAB]
(On the table is a line of knives and possible murder weapons. JERSEY BRESLOW
picks up one of them and looks at it intently, studying it.)
FADE OUT.
FADE IN.
[Scene from 1X02: Ring of Fire]
[EXT. NEIGHBORHOOD - NIGHT]
(The house is on fire. Firefighters hose down the fire while neighbors watch.)
(End of flashback. Resume to present.)
(SAM and ART BEHAR question JERSEY BRELO.)
SAM: So ... Jersey, did you have a girlfriend that died in a fire?
JERSEY BRESLOW: Yes.
ART BEHAR: Twenty-two days after her funeral, you resigned a tenured professor
to join the FBI. Then you requested the Violent Crimes Task Force with no
alternates. Is that right?
JERSEY BRESLOW: Obviously, you know it is.
ART BEHAR: And when you learned the top forensics position was already taken,
you agreed to the number two job even though you were way overqualified for it.
JERSEY BRESLOW: I don't understand what this is about.
SAM: Jersey, why didn't you tell us about your girlfriend?
JERSEY BRESLOW: I wanted respect on this job, not pity.
ART BEHAR: What about payback? Didn't you want back at those incompetents who
let your girlfriend die?
JERSEY BRESLOW: The VCTF is the only outfit that could have stopped the son of
a bitch from killing her. Look, I wanted to be a part of that. Period.
ART BEHAR: And you don't resent --
SAM: (interrupts) Art, Art, that's enough. (quietly) Jersey, I'm sorry about
this. I know that you have work to do, so, thank you.
(SAM glances at BEHAR. JERSEY looks from SAM to BEHAR. He gets up and leaves
the office.)
ART BEHAR: I wasn't finished. I'm going to talk to him again.
SAM: Art, that man is not obsessed. I'm not sure that I can say the same thing
about you.
ART BEHAR: If Jersey Breslow isn't the mole, guess who becomes our prime
suspect?
SAM: Bailey Malone is not capable of murdering anyone. You know, maybe you
should think about withdrawing yourself from this investigation.
ART BEHAR: So, he told you. Of course. Why, he's proud of himself.
SAM: He told us that you might have personal reasons for pursuing this Task
Force. Now, frankly, I think that it is clouding your judgment.
ART BEHAR: I am doing my job. All that is required of you is to do the same.
SAM: No, you don't want me to do my job. You want me to trump something up so
you can hang Bailey.
ART BEHAR: If you weren't biased, you'd entertain the possibility.
SAM: You want me to entertain possibilities? All right ... how about you're
the mole? You had the motive and the opportunity to steal the documents and
kill Portrero.
ART BEHAR: That's ridiculous.
SAM: No, it's not. But, you didn't. You love the Bureau. It's clearly what
defines you.
ART BEHAR: Don't profile me. Just tell me who killed Portrero if it wasn't
Bailey Malone.
(SAM stares at BEHAR. BEHAR turns and walks out of the office.)
CUT TO:
[INT. VCTF - COMMAND CENTER]
(GEORGE types on the computer setting up the security video. On the monitor,
they watch as ED PORTRERO checks the security camera. The time on the camera
reads 16:56.)
GEORGE: This was the last thing Ed Portrero did before he was killed in the
lab.
ART BEHAR: I already saw this. He was checking the camera for blue dots.
SAM: No. I think Portrero was looking for something else. I just checked that
camera, and it had markings on it as if it had something attached to it.
ART BEHAR: What?
SAM: George, can you bring up the footage of Bailey at his desk from earlier
this morning?
(GEORGE puts the video on the monitor.)
SAM: All right, now time-lapse forward.
(He fast forward through the video.)
SAM: All right, so stop it right there. Right, now rewind ...
(He adjusts the footage on screen.)
SAM: All right, stop. Do you see the blue dot on his desk?
GEORGE: Yeah. I'll enhance it.
(GEORGE enhances the video focusing on the blue dot.)
SAM: Ok, now roll tape.
(They watch as the blue dot disappears for a moment.)
GEORGE: Wha--wait a minute.
BAILEY: A section of tape is missing.
JOHN: There's no break in the time code.
RON DRESDEN: Must be a glitch. Hmm. I'm on it.
SAM: George? Can you show me how that camera would zoom in on Bailey's desk?
RON DRESDEN: Oh, there's no zoom on that last one.
SAM: No. If there were.
(The camera zooms in over BAILEY'S shoulder and snaps a photo of it.)
BAILEY: Now, if there was a zoom, you could read right over my shoulder.
RON DRESDEN: Our security cameras don't have zoom capacity for just that
reason.
GEORGE: Yeah. I was just about to say the same thing, but, you know, somebody
could modify the camera with, like, a little servo unit and a zoom lens.
NATHAN: The killer removed it.
JOHN: After Portrero found it.
ART BEHAR: Oh, come on.
SAM: But Portrero didn't know enough about cameras ...
(Quick flashes of: The camera footage of PORTRERO standing up checking BAILEY'S
office camera, of BAILEY writing, of PORTRERO being stabbed in the biohazard
chamber. Resume to present.)
SAM: So he had to check the other cameras to make sure that the zoom attachment
was unique. George, would you do me a favor? Can you get a list of all
civilian employees of the VCTF who applied for agent status and were denied?
GEORGE: Yeah. It'll take me a second.
(GEORGE starts typing to get the information. On the wall monitor, RON
DRESDEN'S application appears on screen.)
RON DRESDEN: Bailey, if you don't need me, I'm going to check on that glitch.
(RON DRESDEN stands up and moves to the door.)
SAM: Dresden, could you just wait one second, please?
GEORGE: Sam, I've got your civilian to agent list. It's two applications
pending, four rejected.
(GEORGE hands the list to BAILEY.)
SAM: Is one of the rejects Dresden?
GEORGE: Uh, yes.
BAILEY: I signed off on your application a couple of times, didn't I, Ron?
RON DRESEN: Doesn't mean I did anything.
SAM: Well, I think you did. I think you put a zoom lens on the camera in
Bailey's office so that you could take pictures of secret documents, and I think
that Portrero found it, and I think that you killed him.
(RON DRESDEN flicks his wrist and opens a knife. With a roar, he raises the
knife and heads for SAM. The agents in the room swarm around DRESDEN, climbing
over the table and tackling him to the floor.)
(DRESDEN stabs NATHAN in the side.)
JOHN: Drop it!
(JOHN and BAILEY subdue him and cuff him. SAM tries to look at NATHAN'S wound.)
SAM: (to NATHAN) Let me look. Ok. It's a cut. It's not that bad.
BAILEY: (shouts) Get the paramedics!
SAM: (to NATHAN) It's not that bad. I don't know.
(NATHAN grunts in pain.)
SAM: Get--get somebody. Get somebody, Bailey.
JOHN: You're gonna be ok.
CUT TO:
[INT. VCTF - FORENSIC LAB -- LATER]
(GRACE is stitching up NATHAN'S wound. Everyone stands around them watching
GRACE finish.)
GRACE: No aerobics for a while and you'll be just fine.
JOHN: That scar's going to look disgusting.
GRACE: Oh, shh.
NATHAN: Thank you very much, John.
(SAM walks up to NATHAN.)
SAM: Hey ... how are you? You all right?
NATHAN: Yeah, I'm ok. Did Dresden confess?
BAILEY: Not at first. We found his stash in an equipment conduit. There were
twenty-seven Eyes Only documents he got from video capture, including the one
that got Ted Fiorello killed.
NATHAN: So, he gave it up.
BAILEY: He gave up his contact, who in turn is giving up Cahill O'Connor.
JOHN: Not a bad day's work. He must have been the one who planted the papers
in your desk, too.
GRACE: I don't know ... seems like we pull one nut off the tree and two more
just take its place.
(SAM smiles as she stares at GRACE.)
SAM: Grace, your skin, it just looks so amazing.
GRACE: (glowing) Thank you. Being pregnant, thank you.
(They all stand around NATHAN and share a laugh.)
MICHELLE BRUBAKER: Excuse me? (Everyone stops and turns around to look at
her.) Am I interrupting?
GRACE: No. Uh, no, not at all.
(NATHAN sits up .)
GRACE: You know, Nate, I'll check in on you a little later.
SAM: Take it easy.
NATHAN: Yeah.
(The group starts to disburse and leave the lab.)
GRACE: Ok? All right. I'll get a trace on the files come tomorrow.
JOHN: You all right? You sure?
BAILEY: He's all yours.
JOHN: Thank you.
(JOHN leaves MICHELLE with NATHAN.)
MICHELLE BRUBAKER: Hi. Are you sure you're ok?
NATHAN: Uh, yeah, I'm ok.
MICHELLE BRUBAKER: Look, John called, and he said it wasn't anything serious,
but shouldn't you go to a hospital or--
NATHAN: I --
MICHELLE BRUBAKER: Just in case.
NATHAN: Michelle, I've already been treated. I--I trust these people.
MICHELLE BRUBAKER: With your life, I guess.
NATHAN: Yeah.
MICHELLE BRUBAKER: God, Nathan ... you don't know how many times I've closed my
eyes and--and seen you cut up or shot.
NATHAN: Look, I could've gotten hurt a lot worse in a traffic accident or in
driving over there ...
MICHELLE BRUBAKER: That is not the point. This job you court injury and death
and I hate it.
NATHAN: Look, I--I don't like getting hurt, and I want to live a good long
life. But what I did today probably saved someone's life, probably more ... and
I feel good about that.
MICHELLE BRUBAKER: Ok, all right, but - but there are other ways that you can
do public service. There's Congress, there's-- there's the State Assembly.
Baby, you could be a Prosecutor.
NATHAN: I have found my place.
MICHELLE BRUBAKER: I guess that's all there is to it.
(She turns to leave, but he stops her.)
NATHAN: It doesn't have to be. I'm family with you. And I will never let that
go. And I am asking you not to take that away from me.
MICHELLE BRUBAKER: I don't want a divorce ... but our lives are incompatible.
NATHAN: I can't accept that. There's got to be a way. I feel it in my heart.
Trust me. Have faith in us.
(NATHAN and MICHELLE look at each other. They lean in close and hold each
other.)
CUT TO:
[INT. VCTF - MEN'S RESTROOM]
(ART BEHAR is in the bathroom when BAILEY walks in.)
BAILEY: I want you to know it was never my intention to have you embarrassed
like this.
ART BEHAR: Well, the hell with you. You're nothing but a vulture. I've been
with my wife fifteen years. We have a patch of trouble and you think you can
move in.
BAILEY: That's not how it happened, Art. The truth is, it was me ten years
ago. Too much work, too little time for my wife and kids. And before you know
it, the ship sails on your marriage.
ART BEHAR: Yeah, well, my marriage is not over.
BAILEY: Face the fact. Ellen has moved on with her life.
ART BEHAR: With you in my place? I don't think so.
BAILEY: It's up to Ellen to decide what's right for Ellen. Not you or me.
(BAILEY turns to leave, but BEHAR stops him.)
ART BEHAR: And you think she's going to pick you?
BAILEY: I've said what I had to say.
(BAILEY again moves to leave, but BEHAR reaches forward and grabs his arm.)
ART BEHAR: We're not through, you and me. Know it.
CUT TO:
[EXT. PARKING LOT -- NIGHT]
(ELLEN BEHAR walks to her car. Someone approaches her from behind. She hears a
noise and turns around to see BAILEY running toward her.)
ELLEN BEHAR: Oh, god, you scared me.
(She walks toward him and they kiss.)
ELLEN BEHAR: Why didn't you call?
BAILEY: Let's go for a drink.
ELLEN BEHAR: What's wrong?
(BAILEY sighs.)
BAILEY: Art knows.
ELLEN BEHAR: About us? (BAILEY nods.) How could he know? What happened? Did
he call you?
BAILEY: He's upset, and he's going to say some things to hurt you. Ok?
Remember, you've done nothing wrong, Ellen. Nothing to be ashamed of.
ELLEN BEHAR: He must be devastated. I need some time to be alone. I'll call
you.
(She turns and walks toward her car. She opens the car door as BAILEY backs
away.)
CUT TO:
[JACK'S PLACE]
(Various cuts of: JACK works on his taxes and fills out the forms. Under OTHER
MISCELLANEOUS DEDUCTIONS, 27 Other, he writes, "KNIVES".)
(More rapid cuts and we find under:
JOB EXPENSES AND MOST OTHER MISCELLANEOUS
DEDUCTIONS
(JACK writes:
ROSE BUSHES
KNIVES
WIRE CUTTERS
SURGICAL GLOVES
SHOVEL
(NEXT FORM)
WIGS
(He lists his mother as a deduction.)
-24-2557 MOTHER
JACK: Taxes owed? Zero.
(He rapidly scribbles his name on the signature line and folds the form up. He
stuffs it into the envelope and licks it.)
(He seals it with a kiss.)
(Camera motion slows down and we can hear him breathe.)
(Camera rapidly moves backward and out of JACK'S place.)
(The door closes on the camera.)
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
1X19: FTX: FIELD TRAINING EXERCISE
ORIGINAL AIR DATE ON NBC: 04/12/1997
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
MICHAEL GASTON as Art Behar
GINA TORRES as Michelle Brubaker
JACK CONLEY
RICK SNYDER
GIBBY BRAND as Jerzy
COLETTE KILROY as Ellen Behar
DAVID BRISBIN
RICHARD HOLDEN
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: GEORGE GEIGER and CHARLES D. HOLLAND
Directed by: MICHAEL LANGE
==========================
END CREDITS
==========================
Sanders/Moses Productions
NBC Studios
NBC Enterprises
with
JAMES WELLINGTON as Ted Fiorello
AL D'ANDREA as Cahill O'Connor
Story Editor: BOB LOWRY
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: CAROL GREEN
Second Assistant Director: JEFF KAY
Costume Designer: TOM McKINLEY
Production Supervisor: LORIE ZERWECK
Camera Operator: JAMIE MAXTONE-GRAHAM
First Asst. Cameraman: BUTCH PIERSON
Dolly Grip: RICK MAXEY
Production Sound Mixer: KEN SEGAL
Second Second Assistant Director: LAURA SYLVESTER
Location Manager: ILT JONES
Gaffer: JOHN SPRAGUE
Key Grip: RONN COONEY
Construction Coordinator: ANDREW MOORE
Transportation Coordinator: STEVE ZERWECK
Stunt Coordinator: NOON 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 Supervising Producer: MADELINE BELL
Assistant to Producer: SUSAN SCHMIDT
Post production Supervisor: KENNETH RAICH
Computer Graphics: PAUL LeBLANC
Assistant Editor: MONICA GILLETTE
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: 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:06/22/2004~lky
http://www.webphilia.com/~anthology/wnp.html