PROFILER
1X05: UNSOILED SOVEREIGNTY
ORIGINAL AIR DATE ON NBC: 11/02/1996
TRANSCRIBED FROM DVD
Written by: JEAN GENNIS & PHYLLIS MURPHY
Directed by: SARA PIA ANDERSON
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: A series of bombs are placed and detonated in Pittsburgh, set by a
bomber with a message.
==========================
PROFILER
1X05: UNSOILED SOVEREIGNTY
==========================
FADE IN.
(A man dressed in white sits on the floor of the white room. The room looks
sterile. There are six gallon bottles of water in the back. The supplies on
the white desk are in sterile bottles.)
(The bald-headed MAN stands and walks over to the work table. He leans over the
table and works. Using a pair of pliers, he meticulously twists the two copper
wires together.)
(White flash to: The MAN puts the pliers down and picks up a pair of wire
cutters. He cuts the tip of the twisted wires off. He examines his work
carefully.)
(The doorbell rings.)
(... and rings and rings.)
(The MAN puts his wire down and puts on a pair of latex gloves.)
CUT TO:
[FRONT PORCH - CONTINUOUS]
(The front door opens to three little girls and an adult standing behind them.)
LITTLE GIRL: Hi. Would you like to buy some cookies?
THE MAN: (smiles) How'd you know I had a sweet tooth?
(The MAN uses his gloved hands and takes out his wallet.)
THE MAN: Is this ... for summer camp?
LITTLE GIRL: The money's for the ozark park. It's a pit. How many you want?
(THE MAN pulls out a five dollar bill.)
THE MAN: Two. (eagerly) Peanut butter.
(He slides the door open so he can hand the money to the LITTLE GIRL. The MAN
looks down at the three little girls. The one on the right is eating an apple.
She wipes her mouth with her hand.)
(As the man watches, he sees flashes of millions of germs as she wipes her
mouth.)
(He turns to the other little girl who sneezes in front of him.)
LITTLE GIRL: Ah ... ah-choo!
(Again, he sees more flashes of germs ... and bacteria.)
(As he looks at the little girl, he sees flashes of microscopic bacteria.
THE MAN: (spits out) You filth!
(The MAN drops the money and pulls his hand back into the house where he slides
the wire door shut.)
(He slams the front door closed.)
FADE TO WHITE
[WHITE ROOM]
(THE MAN is back in the white room desperately scrubbing his arm raw trying to
get all the bacteria and germs off. He grabs the flask full of water and pours
it on his bleeding arm.)
(The water washes the blood into the sterile pan where he had placed his hand.)
FADE TO
END OF TEASER
ROLL TITLE CREDITS
[Captioning made possible by court tv]
FADE IN.
[INT. FBI - VCTF - BULLPEN -- NIGHT]
(JOHN and NATHAN walk down the stairs and into the room.)
JOHN: I'm going to try and get out of here as early as I can tonight. I'm beat.
NATHAN: Rough night?
JOHN: Great night. Hope I'm this tired tomorrow.
(The reach the bottom and head for the conference table. GRACE meets up with
them.
GRACE: You guys hear what happened?
NATHAN: What now?
GRACE: A bomb went off at the nuclear power plant.
NATHAN: Any casualties?
GRACE: Don't know yet. Some terrorist group calling themselves Planet R has
taken responsibility.
JOHN: They don't like electricity?
GRACE: Pollution. But you know what? Neither do I, but I don't go around
bombing places.
(BAILEY walks in to the bullpen with his jacket in his arms.)
BAILEY: We have a go situation. A.T.F.'S already on the scene. There's been
one explosion.
(SAM appears next to BAILEY.)
BAILEY: Three more devices have been found and cleared.
NATHAN: What's the demand?
SAM: To shut down the plant last night by midnight.
(JOHN gets his jacket.)
JOHN: Whose jurisdiction? I've worked with these guys before. They're a bunch
of cowboys.
(BAILEY puts his jacket on.)
BAILEY: We fund it, we run it. Let's go.
(JOHN and NATHAN head out.)
CUT TO:
[EXT. PITTSBURGH CITY (STOCK) - DAY]
LEGEND:
PITTSBURGH,
PENNSYLVANIA
[INT. NUCLEAR POWER PLANT -- DAY]
(NICK "COOP" COOPER is dressed in yellow gear and working on the device.)
VOICE (MAN): (over radio) Nice and easy, Coop.
SECOND VOICE: Back off. Give him room.
(Camera pans up and around the area to show SAM, BAILEY and JOHN watching from a
distance.)
(JOHN puts down his binoculars.)
JOHN: That thing blows, power goes out in how many states?
BAILEY: The whole east coast.
(They watch as the robotic device puts something in a large canister.)
BAILEY: They just got another one.
JOHN: That makes five?
BAILEY: Six. They're bringing out one more. It'll be the last one.
SAM: A.T.F.'S been getting letters from this group for a month. All empty
threats until today.
(They watch as NICK COOPER walks out of the wired in area.)
JOHN: You'd think the past couple of years would have taught them something
about empty threats.
BAILEY: What's your beef with A.T.F.?
JOHN: No beef. Just can't stand them.
SAM: None of their other demands have been met. Why move on this one?
BAILEY: Well, they blame it for everything from smog to cancer-causing lettuce.
According to local law enforcement, it's been the target of a lot of protests.
(SAM steps away. BAILEY calls out and turns.)
BAILEY: Nathan.
(NATHAN steps forward.)
NATHAN: Yeah.
BAILEY: Check for activists. Go into town meetings, find any faction that
stands apart.
(GRACE steps up next to NATHAN and looks through the binoculars at the activity
below.)
NATHAN: Hey, we got a pool going: What the "R" in planet R stands for. I got
20 bucks on "revolution."
(Down below, the men take cover behind a nearby squad car.)
JOHN: Put me down for "Rat Pack".
(JOHN turns to NATHAN and they share a smile. JOHN turns and looks out through
the binoculars.)
JOHN: There she blows.
(The device is detonated.)
GRACE: I'll take "Repulsive."
(They watch as NICK COOPER carries out the last bomb.)
JOHN: Here comes the last one. Looks like some kind of pipe bomb.
(SAM looks through the binoculars as NICK COOPER takes off his helmet. He holds
out four fingers, a signal that it's clear.)
CUT TO:
[LATER]
(BAILEY and NICK COOPER walk along the side of the fence.)
NICK COOPER: Man, boom! You guys always cut in right when it gets fun. What
do you do? You time it that way just to piss us off?
BAILEY: Whenever possible.
NICK COOPER: I thought so. What's up?
BAILEY: We want to do this together, take what you've got in the investigation
and put our best profiler in early.
NICK COOPER: Ok. Whatever you need. We're onboard. I worked with some of
your people on the unabomber for five years. I want to tell you, finding that
shack was like finding the Holy Grail.
(His voice trails off as he sees SAMANTHA walking with JOHN. He appears to be
filling her in on some notes from his notebook.)
NICK COOPER: She on your team?
BAILEY: Yeah, and if she'd been on your team, you would have found that shack a
lot sooner.
(JOHN and SAM reach BAILEY.)
BAILEY: Samantha Waters, John Grant, Nick Cooper, A.T.F.
NICK COOPER: Pleasure to meet you.
SAM: Nice to meet you.
NICK COOPER: Good to meet you. Friends call me 'Coop'.
(SAM and COOP share a look and a smile.)
JOHN: I'm trying to confirm. Looks like everybody's accounted for. As far as
how they got in, we don't know. There's certainly no sign of a break-in.
BAILEY: This place is wide open. Wouldn't be too hard to get inside. Get to
the employees. Past and present.
JOHN: Also anybody who has access to the plant.
SAM: I would like to see where the bombs were placed.
NICK COOPER: You want a tour guide?
SAM: Sure.
CUT TO:
[LATER]
(NICK COOPER shows them the razor blades found inside the bomb. He picks one up
and hands it to GRACE who is dressed completely in sterile white.)
NICK COOPER: As you can see, it was a very close shave.
(No one laughs. He turns and looks at the three FBI agents staring at him.)
NICK COOPER: All my jokes bomb. It's a requirement in this job.
JOHN: Your job is such a blast, right?
NICK COOPER: Ha ha. I do get a bang out of it.
(He picks up another razor blade and smells it, then hands it to GRACE who does
the same.)
NICK COOPER: Judging from the looks of this metal, it had to be amfo, which is
a combination of fuel oil and ammonium nitrate. The other six devices were
pretty well hidden.
SAM: The only one they didn't hide was the one that went off?
NICK COOPER: Basically.
SAM: Who found it?
JOHN: The security guard when he opened up.
GRACE: It was on an egg timer. It was set to go off one hour before the first
shift.
SAM: And what about the others?
NICK COOPER: They were set to go off this afternoon.
(SAM nods.)
(Quick flashback to: Flashes of COOP walking out of the wired area in his
protective suit carrying the bomb. Flash to the robot arm dropping the bomb
into the explosive canister. Flash to the bomb detonating. End of flashback.
Resume to present.)
(SAM nods, thinking.)
SAM: So they practically put up a sign "bomb here" on this one and then hid the
others ... to scare us?
BAILEY: But gave us plenty of time to find them.
SAM: I don't think they wanted to kill anyone. I think they're trying to warn
us.
NICK COOPER: Got my attention.
BAILEY: Grace.
GRACE: Well, a lot of this stuff's pretty generic. I mean, I bet we could find
any of those pipes in 50 different stores in Pittsburgh.
NICK COOPER: Yeah. These were simple devices, but elegant: A lot of time, a
lot of thought.
SAM: Were they all made the same?
CUT TO:
[INT. FBI - VCTF - LAB -- DAY]
(COOP is explaining the mechanics of the bomb found at the site to SAM.)
NICK COOPER: Now, the first bomb I ever made, I mixed this stuff with cereal
and whipped cream. Got it all over the kitchen.
SAM: Whipped cream and cereal?
NICK COOPER: Yeah. I did. What does that mean?
SAM: I don't think we have enough time to go into that right now, so why don't
you tell me about this?
NICK COOPER: Well, the projectiles are different with each device. That's the
first thing that jumps out at you. And check this penny. Check it out. 1954.
(He hands the penny to SAM.)
SAM: It looks brand new.
NICK COOPER: Exactly. And every single one of these is shiny like that, like
they were polished. Same with the rocks, all of it. Not a speck of dirt on
anything.
SAM: But he set off the one with the razor blades. Why would he spend so much
time making these other bombs if he just wanted us to find them? Is he showing
off?
NICK COOPER: You say "he."
SAM: Well, what do you think?
NICK COOPER: Well, these wires, they weren't stripped. They were peeled, ok?
Twisted to the left and clipped off about 20 degrees from perpendicular.
(He holds out the magnifying glass to each set of wires to show SAM.)
NICK COOPER: Check it out. Ta-da. Ta-da. Ta-da. Ta-da.
SAM: They're all the same.
NICK COOPER: Exactly. Same move, same tool: Same person.
(SAM stares at the wires.)
(Quick flashback to: Flashes of: The desk in the white room. The BOMB MAKER
twisting the wires. The BOMB MAKER opening his wallet with his gloved hands and
taking out the money. End of flashback. Resume to present.)
SAM: So you think we're looking for one man instead of a group.
NICK COOPER: Making bombs tends to be a solo gig. As for saving the planet, I,
uh ... I wouldn't know about that.
SAM: So ... you think that you could put one of these together?
(Now that's a challenge.)
NICK COOPER: Put a clock on me.
(NICK moves fast and efficiently yet his manner is completely relaxed as if he's
done this a million times before. SAM glances down at her watch - timing him.)
NICK COOPER: See, my mom wanted me to be a brain surgeon, but I just hate the
idea of all that slimy gook. I mean, I even order my eggs well done.
(He reaches into his pocket and pulls out some wire.)
SAM: You always carry wire in your pocket?
NICK COOPER: (smiles) Always.
SAM: So, how old were you when you destroyed your mother's kitchen?
NICK COOPER: I was 8, and I knew you were going to get around to blaming my
mama. I knew that.
SAM: How long have you been on the job, Coop?
NICK COOPER: Seventeen years. Bomb squad, ten.
SAM: That's a lot of gum.
NICK COOPER: You married?
(The question catches SAM off guard for a moment. She doesn't answer him long
enough for him to glance up at her.)
SAM: Finish your bomb.
NICK COOPER: Oops. Flag on the play. She's the only one who gets to ask
questions around here.
(Done. NICK proudly holds up the finished bomb for SAM. She glances down at
her watch.)
SAM: 40 seconds. Not bad.
NICK COOPER: Actually, I cheated. Most of the detail work was already done.
(Someone's pager beeps. SAM checks her page.)
SAM: Oh.
NICK COOPER: That you?
SAM: No. It's you.
NICK COOPER: Oh. Oh, yeah.
SAM: There's a phone over there you can use. I'll catch up with you later.
NICK COOPER: Ok. I'll, uh, catch up with you later.
(SAM turns to leave. Camera holds on NICK as he watches her leave the room.)
CUT TO:
[INT. JACK'S PLACE -- DAY]
(Camera starts with the roses hanging from the ceiling, then slowly moves down
to linger on JACK as he sits at his work table. He reads the newspaper with the
following headline: FEDS INVESTIGATE PITT POWER BLAST. On the front page is a
photo of NICK and SAMANTHA.)
(JACK uncaps a red pen and draws a heart around NICK and SAM, complete with
arrow. He then takes a scalpel and slashes through NICK'S face. When done, he
drops the scalpel on the newspaper.)
CUT TO:
[INT. FBI - VCTF - BULLPEN -- DAY]
(Open on the message coming through the monitor:
DO YOU BELIEVE US NOW?
PLANET R SEES THE EARTH IS DIRTY AND TIRED.
CLEANSE HER FORM WITHIN OR DIE ...
JOHN: (reading) "Planet R sees the earth as dirty and tired ... Cleanse her
from within or die. Send the sterile Brunette alone with one million dollars in
a suitcase to fourth and hill at 9 P.M. Or 406 Donora Square blows." The
"sterile brunette"?
SAM: It's Grace.
(On the monitor, footage of the team at the site plays on screen. It pauses on
GRACE dressed in white.)
SAM: She's all in white, wearing gloves. She's clean. What's at 406 Donora
Square?
(On the monitor, pictures of the buildings flash on screen.)
BAILEY: Three buildings that house 82 local, state, and federal agencies.
They're evacuating now, we're on the scene with A.T.F., two devices have already
been found, and we have less than one hour.
SAM: It's about authority now. Is the Environmental Commission in one of the
buildings?
BAILEY: Yeah. That's where they found the first device. Second, Department of
Sanitation.
SAM: People who were supposed to protect us from dirt, keep the planet clean.
We should check lawsuits against government agencies, the power plant.
BAILEY: My bet--there'll be plenty of them. Pittsburgh just rezoned the area
surrounding the power plant as nonresidential.
BAILEY: Hundreds of families have to relocate.
NATHAN: The plant has 11 employees with military backgrounds, one with
munitions training. We're taking a very close look at him.
JOHN: What about the security guard?
NATHAN: The security guard checks out. The guy was so upset, he could barely
tell us his name.
BAILEY: We now have 57 minutes.
JOHN: Can we even get hold of a million bucks that quickly?
BAILEY: That's no problem. But why are they asking for money? It changes
their M.O.
SAM: I'm not so sure that it is a group. Coop seems to think that one person
made all of the bombs.
JOHN: Well, does Coop think one guy sabotaged three buildings? A group makes
sense. They get inside, spread out.
SAM: The writing style is consistent. I don't know. It really feels like one
person.
BAILEY: Whether it's one guy or ten, we now have 56 minutes. I could have
fifty agents at Donora Square within a half hour to back up Grace. You'll never
know they're there.
(SAM doesn't like it.)
SAM: I don't think so, Bailey.
BAILEY: I don't have a choice. I can't clear three buildings this quick.
SAM: Grace will be totally vulnerable.
JOHN: We'll be all over her.
SAM: But ... Send me.
(BAILEY and JOHN definitely don't like that plan.)
BAILEY: What if he makes the decoy?
SAM: What if he makes the backup? The signals are very mixed here. I mean, if
it's about the environment, then why does he want the money? And if it's about
money, why did he choose Grace?
GRACE: (o.s.) "Choose Grace" for what?
(Everyone turns to see GRACE standing in the doorway. She looks at them
expectantly.)
CUT TO:
[INT. FBI - LAB]
(SAM talks with GRACE as she washes her hands.)
SAM: No matter what we do to protect you, there are still no guarantees.
GRACE: After all my time in the morgue, Sam, I think I know that better than
anyone. I mean, what if I don't do this and something happens -- someone gets
killed? How am I going to live with myself?
SAM: I see. So this is about guilt.
GRACE: No. I joined this team so that I could get out of the lab and into the
field.
SAM: You're doing it for the fresh air?
GRACE: I'm doing it because it's my job.
SAM: No, it is not your job, Grace. You are a doctor and a scientist. Your
job is to collect evidence and study it.
(GRACE picks up a piece of concrete off her desk and hands it to SAM.)
GRACE: Do you know what this is? Here, hold this. Hold it. That's from the
Federal building in Oklahoma City. I had a friend who was a victim. Those
families, every minute of every day, have to live with that pain, and I'm sick
of it! (angry) I've had it.
(She looks at SAM. SAM studies GRACE.)
SAM: Me, too.
GRACE: I guess you were trying to make me angry, huh?
(SAM shakes her head.)
SAM: Focused. I had to know that this was your choice. We'll wire you so
tight, you'll think I'm in that head of yours. Ok?
GRACE: (nods) Ok.
CUT TO:
[LATER]
(JOHN puts a wire on GRACE.)
SAM: Grace, am I your head now?
(Cut to: In his office, BAILEY shuts the briefcase full of cash. He picks it
up and hands it to GRACE.)
(She takes it and walks out of his office.)
CUT TO:
[EXT. FOURTH AND HILL -- NIGHT]
(JOHN sits on the low concrete wall reading a paper. He glances up and turns
around to look at NATHAN who is also sitting there waiting at the newsstand.)
(GRACE walks out carrying the briefcase.)
GRACE: (to radio) I see the guys.
INTERCUT WITH:
[INT. VAN (PARKED) - NIGHT]
(SAM is on the radio headset with GRACE while she monitors her on the video
cameras.)
SAM: Yeah. Try not to look at them, Grace. You want to find the person who is
watching you.
GRACE: Can you hear my heart beating?
SAM: You're doing great. Grace, do you see the bench? I want you to go over
and sit down and just wait.
(GRACE heads toward the bench.)
(BAILEY walks up to NATHAN'S news stand and buys a paper.)
BAILEY: Thanks.
NATHAN: Bailey's on the move.
(GRACE reaches the bench and sits down. BAILEY stands nearby reading the paper
and looking around.)
SAM: (from radio) Bailey, are you there?
BAILEY: I'm not picking up on anyone.
(He looks and sees a shadowy figure walking toward them.)
BAILEY: Hold on. Northeast corner. You see him, Sam?
SAM: Yeah. (to radio) All right, Grace, I want you to do whatever he says.
Just don't talk to him.
BAILEY: Contact's going down.
MAN: I'll take it from here.
(The MAN grabs the briefcase and gets up. He walks rapidly away, his head down,
trying not to draw attention to himself.)
(BAILEY follows the MAN.)
(SAM watches them.)
(Quick flashback to: The MAN reaches out his bare hand and grabs the briefcase
from GRACE. Flash to: The MAN walks away with his bare hand clutched around
the briefcase handle. Camera zooms in on the briefcase and the money inside.
Flash to: The BOMB MAKER'S gloved hands holding the wallet and taking out the
money. End of flashback. Resume to present.)
SAM: Bailey, don't go in there.
(The man walks into the building. BAILEY realizes and rushes to stop it.)
BAILEY: No!
(As soon as the man walks into the building, the bomb explodes.)
(BAILEY turns around and grabs JOHN. The two of them are hurled backward by the
force of the explosion.)
(SAM takes off her headset and rushes out of the van.)
(BAILEY looks up at the burning building and debris. Both he and JOHN slowly
stand up. Sirens wail in the distance.)
FADE OUT.
FADE IN.
[EXT. FOURTH AND HILL - NIGHT -- LATER]
(NICK COOPER sifts through the rubble. SAM, BAILEY and JOHN walk and talk.)
SAM: It just didn't make sense. Why would he pick a homeless person? Once the
money had been touched by dirty hands, he wouldn't have wanted it. Maybe he's
telling us that money itself is dirty.
BAILEY: You sure it's one man?
(Quick flashback to: Various flashes of the BOMB MAKER in his white, sterile
room, the bomb wires and the briefcase. End of flashback. Resume to present.)
SAM: Yeah. In his mind, I don't know, maybe he was trying to get rid of
something unclean, and at the same time, he's making it perfectly clear to us
that he's not afraid to take lives.
NICK COOPER: This damn was detonated by some kind of remote control device --
boom. Twist in the wire ... is the same.
(COOP glances over at SAM.)
NICK COOPER: Hi.
SAM: Hi.
NATHAN: Uh, the victim was a street regular, a panhandler they called Carl
Moss. Grace found this in his back pocket, all in one piece, if you can believe
it.
(NATHAN removes a hundred dollar bill in a small Ziploc baggie from the evidence
envelope.)
SAM: The money was inside the plastic?
NATHAN: Yeah. A hundred bucks.
BAILEY: He paid him.
SAM: To test us. How's Grace?
NATHAN: Running on adrenaline. We don't know.
(SAM glances back at GRACE.)
SAM: I will know.
(SAM walks away from the group toward GRACE.)
(Without saying a word SAM looks at GRACE. GRACE turns her head and looks at
SAM. SAM puts a comforting hand on GRACE'S shoulder.)
CUT TO:
[EXT. FBI BUILDING (STOCK) -- NIGHT]
[INT. FBI - BAILEY'S OFFICE -- NIGHT]
(BAILEY fixes himself a drink while SAM stands in front of his desk, arms
crossed and thinking a mile a minute.)
SAM: I've excluded the employee with ammunitions experience. It was a two-week
course in army basic training. The other employees check out as well.
BAILEY: You get any sleep last night?
SAM: That leaves us nowhere, Bailey, and he's going to make another demand.
BAILEY: You think we'll hear today?
(SAM starts to pace the floor. BAILEY takes his drink and heads for the couch.)
SAM: We might. I think he's beginning to operate at an accelerated pace. He
got our attention by blowing up the money and killing Carl Moss. He must have
had a reason.
BAILEY: Some doomsday thing?
(He sits down and lights a cigar.)
SAM: Maybe. When he contacts us again, I think we should go along with
whatever he wants. Within reason. I'm just saying, let's enter his game. He's
been fairly controlled in what he's done so far. I don't think that he wanted
to kill anyone. I think that he felt he had to to show how serious he was.
BAILEY: That doesn't make me want to trust him, Sam.
SAM: Don't get me wrong, Bailey. I don't trust him. I just think that he's so
focused on his mission that nothing else matters.
BAILEY: Now Grace is part of his mission.
SAM: I know. But he likes Grace. I think he trusts that she's uncontaminated.
I don't think he'll hurt her.
(BAILEY sighs.)
BAILEY: We've got nothing from the canvass. No prints off the money. No trace
materials off the bombs. And no one saw anyone. He's good.
(Quick flashback to: Various flashes of: The MONEY in the plastic bag. The
exploding building. GRACE in her white gear examining the razors. End of
flashback. Resume to present.)
SAM: It's about dirt. Cleanliness is a big thing with this guy. (She shakes
her head.) Maybe a recluse - a Howard Hughes - gotta be. (She thinks about
something.) What's happening with the lawsuits?
BAILEY: Hmm. Ugly stuff. People from the surrounding neighborhoods blame the
power plant for a cluster of birth defects and a high percentage of cancer among
30-50-year-olds.
SAM: Concentrate on male diagnosed or males with relatives diagnosed. That
might be why he's so angry. In his letter yesterday, he talked about Planet R
seeing the earth, which he hates, which he thinks is dirty. Now, do you think
that that could be an astronomical reference, maybe another planet?
(There's a knock on the door. JOHN walks into the office.)
JOHN: Found this guy upstairs. Said he's got a breakfast meeting with you.
(COOP walks into the office behind JOHN.)
NICK COOPER: Hi.
(BAILEY watches, amused as SAM'S put on the spot.)
SAM: Yeah. Uh ... just give me a minute.
CUT TO:
[HALLWAY]
(COOP explains himself to SAM.)
NICK COOPER: Ok, the part about the meeting was a flat-out lie, but the
breakfast part was more like wishful thinking. You want to do it?
SAM: In the middle of a case, I don't -
NICK COOPER: You're not going to tell me you don't eat breakfast? I chew with
my mouth closed, use a napkin, usually don't even stick my gum under the table.
SAM: I don't even know if you're married.
NICK COOPER: If I were married, would I be asking you out?
(She looks at COOP. He laughs.)
NICK COOPER: (shakes his head) I'm not married. I'm hungry. And you're
saying no?
SAM: I'm saying I need to work. I was just going to my office.
NICK COOPER: Oh, ok. I'll just grab something from the vending machine and
keep you company.
(He walks away from her before she can answer.)
SAM: Ok.
CUT TO:
[INT. FBI - SAM'S OFFICE]
(SAM and COOP sit on her couch while she looks through astronomy books following
up on the Planet R line of thinking.)
SAM: Look at this.
NICK COOPER: Hmm.
SAM: This is from the Venus probe. And look right here in the middle, it's a
new star series. It was discovered by the astronomer Louis Bessacini, and he
named it Quadrant R for his daughter Rita.
NICK COOPER: Quadrant R. So you think Planet R is for real?
SAM: Oh, to him, maybe. I mean, Space is clean, unpolluted.
NICK COOPER: So if you were to discover a star, what would you name it?
SAM: I don't know. Um ... Hope, maybe. Something like that.
NICK COOPER: That's nice.
SAM: What about you?
NICK COOPER: -I'd name it Sam.
(SAM laughs.)
SAM: Oh, you would. Yeah. You really don't hold anything back, do you?
NICK COOPER: No. I pretty much say what's on my mind. You wanna say what's on
your mind?
SAM: Well, it's sort of complicated.
NICK COOPER: Ah, I can tell. I like it complicated.
SAM: Well, I was married, um ... my husband died three years ago.
NICK COOPER: Mmm. What happened?
(There's a long pause. Her answer's in her face.)
NICK COOPER: You wanna save it for our second date?
(He apologizes for the presumption.)
NICK COOPER: Yeah. Ok. I'm sorry.
SAM: I do have a daughter, though. Her name is Chloe. She's seven. (smiles)
She's a pistol.
NICK COOPER: Cool.
SAM: What about you?
NICK COOPER: Me? Well, I, um, get headaches if my blood sugar drops. No,
seriously. I turn into a complete grouch. I'm working on it, but, you know. I
have a couple of mutts--Bob and Ray. Just took out a second mortgage on my
house to pay for a ski boat. I'm kind of a slob. But my tool box, is very well
organized.
SAM: Those are your vital stats.
NICK COOPER: Yeah.
SAM: I think you left a couple of things out.
NICK COOPER: Oh, yeah. Well, I--I was married, too, once. Lasted three years.
No kids. That was her choice, not mine. And I think Chloe is a beautiful name.
SAM: Thank you.
NICK COOPER: So where do you wanna go on our second date?
(The intercom beeps.)
BAILEY: (from comm.) Sam, we need you in the Command Center.
SAM: I'm going to have to get back to you on that.
(COOP nods. SAM stands up and heads out of the office. COOP watches her
leave.)
CUT TO:
[INT. FBI - VCTF - COMMAND CENTER]
(GEORGE puts the message back on the monitor.)
NATHAN: "End is near. Planet R will reign in unspoiled sovereignty. Send
sterile brunette, 3 P.M., 8729 Mott. Two million dollars. Sterile brunette
drives alone."
(This time, GRACE is sitting at the conference table, everyone else is
standing.)
(NATHAN turns to the group.)
NATHAN: He broke into a satellite tv feed.
(JOHN looks amusedly at GRACE.)
JOHN: He's still got the hots for Grace.
GRACE: Couldn't he have just sent flowers?
NATHAN: So, now he wants two million? Gonna blow that up, too?
BAILEY: Can't wait to see the memo on this request.
JOHN: (claps his hands) So where do we start?
GRACE: By doing what he says.
SAM: Well, ultimately, it is your call, Grace. I think he likes you. I think
he trusts you. I don't think he'll hurt you.
GRACE: We don't have a choice.
(BAILEY puts a reassuring hand on GRACE'S shoulder.)
BAILEY: We'll sweep the car, track you from the air. John, you and I will tail
he from a couple of miles behind.
JOHN: That's not what he told us to do.
BAILEY: I don't give a damn. Grace is not going alone.
CUT TO:
[EXT. PARKING LOT -- DAY]
(A scent dog is led around the parked car. All other cars have been removed
from the parking lot. On the side at a safe distance, the team watches.)
(GRACE paces the side. Again, she's dressed all in white as she waits.)
(NICK COOPER approaches the vehicle, his head gear in his hand. He stares at
the car. Just before he walks toward it, he turns around, looks at SAM, who is
watching him through the binoculars, and points directly at her. He winks.)
(COOP runs up to the car. A tiny smile tugs at the corner of SAM'S mouth.)
JOHN: Did you see that? He winked at Sam.
NATHAN: You got a thing for her, man?
JOHN: What? No.
NATHAN: You sure do think about her sex life a lot.
(JOHN puts down his binoculars and gapes at NATHAN.)
NATHAN: You do, man.
(COOP checks the car door carefully.)
BAILEY: Car's a rental, I.D.'S false.
SAM: He's checking for trip wires and pressure switches right now.
(BAILEY puts down his binoculars to look at SAM.)
BAILEY: I see you've had a crash course in bombs these past couple of days.
Are you seeing him?
(They watch as COOP slowly lifts the car hood up.)
SAM: Bailey, do we have to talk about my personal life right now?
BAILEY: Sorry.
(pause)
SAM: He makes me laugh.
(On the side, GRACE paces as she waits.)
(They watch as COOP raises his hand to signal that it's okay.)
BAILEY: Let's move in position.
(The MEN step forward. SAM turns to GRACE.)
SAM: Grace, let's go. You all right?
(They approach the car. BAILEY puts the briefcase full of money in the trunk.)
BAILEY: This was found in the glove box. "Take the I-80 south, lake road exit.
Pull over, stop exactly 3 miles down the road. Open the trunk, leave the money,
drive away."
(He hands the instructions and the car keys to GRACE.)
BAILEY: We'll be in constant communication.
JOHN: Aerial surveillance is in place.
GRACE: Ok, all right, I got it.
(GRACE moves to sit behind the driver's wheel. SAM follows her. She closes the
door and checks on GRACE.)
SAM: All right?
GRACE: Yeah. You're gonna talk me through this, right?
SAM: Yes, every step of the way.
GRACE: Ok.
SAM: Just let us get across the street before you turn the key.
(GRACE looks at SAM in time to see her smile. GRACE sighs.)
SAM: You're gonna be fine.
(GRACE starts the car.)
GRACE: All right.
CUT TO:
[EXT. AERIAL VIEW: HIGHWAY -- DAY]
AERIAL SURVEILLANCE: (from radio) We spotted her.
[INT. CAR (MOVING) -- DAY]
(GRACE drives.)
GRACE: You know, I'm going to need some time off after this, Bailey.
BAILEY: You got it, Grace.
SAM: It's almost over, Grace. We're just gonna do what he says, and we'll have
you out of there in two minutes.
GRACE: You promise?
SAM: Everything is gonna be fine. Just take it easy.
GRACE: Ok. Here I go.
[EXT. ROADSIDE - DAY]
(GRACE parks the car and steps outside. She heads for the back of the car to
get the money.)
SAM: Grace, be calm. You're doing great. Everything's going fine.
(GRACE opens the trunk.)
GRACE: Oh, my god.
(The radio fills with static.)
(Cut to: SAM'S in the van on the headset.)
SAM: Grace? Grace?!
FADE OUT.
FADE IN.
[EXT. ROADSIDE - DAY]
(Camera opens on the burnt car. BAILEY and JOHN stand in the back with the
trunk door open.)
BAILEY: He set it off, ran out, picked up the money. Right under our noses.
JOHN: (amused) You're gonna catch hell for this.
BAILEY: Oh, yeah.
(JOHN lifts the carpeting in the trunk of the car to reveal the hole at the
bottom of the car trunk.)
JOHN: Radio controlled trap door. Cooper goes over every square inch of this
damn thing, doesn't see this?
(Frustrated, JOHN slams the trunk door closed.)
BAILEY: Settle down, John.
(A news reporter records her segment nearby.)
ROBERTA JESSMAN (NEWSCASTER): ... Confirm that their prime suspect in the murder
of Dr. Grace Alvarez is the group that calls itself planet R.
(The CORONER zips up the body bag and pushes it into the back of the van.)
[ON MONITOR]
ROBERTA JESSMAN (NEWSCASTER): (from tv) They believe this hostile faction used
some kind of remote control device to sabotage the vehicle Alvarez was driving.
The one you see behind me. Every attempt was made to save her life.
(SAM sits in the back of the van.)
ANCHOR: (v.o. from tv) That's Roberta Jessman reporting live on the scene from
the channel 12 action news van.
GRACE: (o.s., amused) You know, you could've been a bit more touched by my
demise, Bailey.
BAILEY: (on radio) You did a terrific job, Grace. Thanks. By the way, you'd
make a great field agent.
GRACE: Oh, no. I'll stick to the dead people. They're a lot easier, thank
you.
SAM: I'll call you as soon as we hear from him, ok? Well, you seem to be
getting some of your color back.
GRACE: Yeah. So what do we do now? We sit, we wait?
SAM: Well, I don't think he likes surprises. If I'm right, he'll contact us
soon.
GRACE: If I had $2 million, I would disappear. What do you think he wants the
money for?
SAM: I--I don't know. He--he talked about the end being near. He might be
dying. May want the money for some kind of treatment. Or maybe he just wants
to disappear. Maybe to an island, someplace fresh and clean.
GRACE: Where on earth do you get that?
SAM: By asking the question where on earth is clean?
CUT TO:
[INT. JACK'S PLACE -- DAY]
(Open on the newspaper photo of COOP and SAM. COOP'S face is slashed while a
red heart in marker pen is drawn around the two faces.)
(JAKC puts on a fresh pair of gloves.)
(He picks up a map, then places a long stemmed rose on the newspaper photo. He
wraps the newspaper around the rose, then tucks it in a black bag where he zips
it closed.)
(He picks up his dark glasses and keys. He puts his jacket on and picks up the
black bag.)
CUT TO:
[INT. FBI - VCTF - COMMAND CENTER]
(NATHAN is working with audio equipment. SAM walks over to him.)
NATHAN: Call just came in from Pittsburgh P.D. He asked to speak to the FBI
lady. John and Bailey are already tracking.
(SAM puts the headset on.)
SAM: Bailey? Hello?
ALTERED VOICE (MAN): Who is this?
SAM: My name is Samantha Waters. Who is this?
INTERCUT WITH:
(BAILEY and JOHN are in the back of the van tracking the source of the call.)
JOHN: So this guy's long-winded.
ALTERED VOICE (MAN): We didn't kill the sterile doctor. Your planet needs her
skills.
SAM: Our planet? Where is your planet?
ALTERED VOICE (MAN): The galaxy of cleanliness.
JOHN: That anywhere near the big dipper?
ALTERED VOICE (MAN): If the sterile doctor is dead, let her rest there.
BAILEY: Keep him talking, Sam.
SAM: Maybe you made a mistake. Maybe the bomb went off by accident.
ALTERED VOICE (MAN): We make no mistakes. If she really is dead, you killed
her for her own nefarious reasons and chose to blame us.
SAM: Who do you blame? What do you blame them for?
ALTERED VOICE (MAN): The decay of earth.
SAM: Whose fault do you think that is?
ALTERED VOICE (MAN): The fault of those who know better and still choose to
contaminate the planet with vile disease.
JOHN: This guy's giving me the creeps.
SAM: How is planet R going to change that?
BAILEY: Signal's getting stronger. We're coming up on the power plant.
SAM: I know that you tried to warn them. That you tried to tell them that the
power plant was causing disease. I know that they didn't listen to you.
(NATHAN looks at SAM strangely.)
SAM: When were you diagnosed?
(NATHAN watches SAM, amazed by what she's saying.)
SAM: Are you receiving any kind of treatment?
(The phone is disconnected.)
NATHAN: We should have him. Bailey?
BAILEY: We got him within a square mile. Signaling was strong right before we
lost it.
SAM: Bailey, are you near the power plant?
BAILEY: Practically on top of it.
SAM: Look, his house should stand out. It's probably a clean, light colored,
well kept house. May have an elaborate security system or guard dogs or -- no,
actually, scratch that. He wouldn't have dogs, they're dirty.
NATHAN: He should have a satellite dish.
SAM: Yeah, Nathan's right. And power lines should be visible from his house.
(SAM stares at the map on the monitor.)
(Camera zooms toward the monitor, cuts to the power lines and to the satellite
dish. Resume on SAM.)
(It's too simple.)
SAM: Nathan?
NATHAN: Yeah.
SAM: He's letting us find him.
(NATHAN turns and looks worriedly at SAM.)
CUT TO:
[EXT. RESIDENTIAL AREA -- DAY]
(Open on the power lines. Camera moves down to the satellite dish attached to
the roof of the house. It's a clean, light-colored house.)
(The van pulls up and stops in the center of the road in front of the house.
BAILEY and JOHN step out of the van.)
BAILEY: We're in front of the house now.
SAM: Bailey, it could be a setup. There could be booby traps all around the
house. Be careful, ok?
BAILEY: Let's start evacuating the neighborhood. Get here as soon as you can.
SHORT TIME CUT TO:
(SAM is standing just outside the van. COOP is also there in his gear. Their
eyes meet.)
(Outside the house, OFFICERS check along the house.)
(COOP leaves his van and walks over to SAM and JOHN.)
NICK COOPER: So, we, uh, checked all around the outside of the house. It's
amazingly clean. And we're just about ready to go in, ok?
JOHN: Ok.
NICK COOPER: Ok. Good deal.
(COOP and JOHN step away. SAM turns to BAILEY, thinking out loud.)
SAM: Something doesn't fit. He brought us here. It's just like Grace. Now
he's making us a part of his plan.
BAILEY: How could he know we were gonna set up a sting?
SAM: I don't think he did. I just think he's taking advantage of it.
NATHAN: Owner's name is Ralph Mazey.
SAM: Planet Ralph.
NATHAN: Planet Ralph's been living without running water for seven months.
(A MAN steps out to the crowd. He's bald and wearing light-colored clothes.
BAILEY and SAM spot him instantly.)
BAILEY: Sam.
SAM: (nods) Yeah.
(He steps forward. BAILEY takes a step backward reaching for his gun. But
RALPH MAZEY has eyes for SAM. She doesn't step away, but takes a couple steps
toward him.)
(They look at each other.)
(Once he's sure he has her attention, RALPH MAZEY turns and walks away.)
BAILEY: Mazey!
(BAILEY, JOHN and NATHAN have their weapons drawn on MAZEY.)
BAILEY: FBI! Stop!
(MAZEY walks toward the house. In his hand, he has a remote device.)
BAILEY: Turn around slowly.
(MAZEY extends the remote's antenna and holds the device up.)
NATHAN: He's got a bomb trigger!
(MAZEY presses the button on the remote. Everyone fires. MAZEY falls down
dead.)
(COOP approaches the device and removes it from MAZEY'S hand. He looks at it.)
NICK COOPER: Clear.
(He then checks MAZEY for a pulse. He shakes his head.)
NATHAN: He wanted us to shoot him. What the hell was he doing?
JOHN: At least it's over.
(SAM walks around the cops and looks at COOP with the remote device.)
(Quick flashes of: MAZEY pressing the button, Close up of the twisted wires,
and of MAZEY. End of flashback. Resume to present.)
SAM: I don't think so.
(Camera pushes in on RALPH MAZEY dead on the lawn.)
FADE OUT.
FADE IN.
[EXT. MAZEY'S RESIDENCE - NIGHT]
(BAILEY talks with JOHN.)
BAILEY: We found three-quarters of the money inside. No devices. For all we
know, he could've set something off by remote control.
JOHN: So we could have a ticking bomb activated somewhere. Well, I hope Mr.
Coop swept the house better than he did the car.
BAILEY: He was looking for bombs, John, not drop doors. They didn't accept you
because they were on a quota system that year. Couldn't figure out why you had
such a bug up your butt about A.T.F.
JOHN: Is there anything you can't find out?
(BAILEY stops and turns to look at JOHN.)
BAILEY: To be honest, I never met anyone who applied to eight different law
enforcement agencies. D.E.A., Secret service, A.T.F., Highway patrol, sheriff
department --
JOHN: I didn't know what I wanted to do. A.T.F. was the only one that turned
me down. I--I never knew why.
BAILEY: You ended up in the right place.
(BAILEY turns and walks away.)
CUT TO:
[HALLWAY]
(Camera moves down the sterile white hallway. SAM looks around the house. At
the end of the hallway is a room, white, sterile.)
(SAM sees the plastic taped over the wall light switch. She sees the five-
gallon bottles of water on the side of the room. She steps into the room and
sees the telescopes near the window. She sees the bottles of iodine on the
bedside table.)
(She walks over to the slide projector and notices the number of slides inside.
She switches it on, she turns the light off.)
(On the wall there's a picture of the galaxy. The next slide is of burning
trash heaps, smoke stacks, traffic jams. Waste in water, barrels in landfills,
tanks, polluted waters and rivers, smoke stacks, trash landfills and finally of
the galaxy.)
(BAILEY and JOHN walk into the room. SAM walks up to the picture of the galaxy
on the wall.)
SAM: That's where he wanted to go.
JOHN: Galaxy of cleanliness? He thinks he's in outer space now.
SAM: "To reign in unsoiled sovereignty."
BAILEY: He used us for blast off.
SAM: He couldn't do it to himself. He was too afraid. Look at this place. He
felt safe here. It's practically hermetically sealed.
BAILEY: The device, that's what we need, Sam. Where would Mazey put it?
SAM: Why didn't he leave a suicide note? He always communicated to us.
JOHN: We've searched every single inch of this place.
SAM: (thinking) Can we arrange to have Grace do an autopsy right away?
CUT TO:
[INT. FBI - AUTOPSY ROOM -- NIGHT]
(GRACE is working on the body.)
SAM: Bailey wants us to call him if we find the rest of the money.
GRACE: You know I respect your hunches, Sam, but it's 5 A.M. and he's not going
anywhere. Even though it does feel good to have my hands inside somebody's guts
again. Especially his.
SAM: Grace, when you ingest something, it goes to the stomach and then passes
through the intestine, right?
GRACE: Yeah, unless he has an organ I don't know about. Ooh, this liver is
shot. He must've been a drinker.
SAM: Couldn't that have been caused by something else?
GRACE: What the hell ...
(GRACE pulls out a capsule.)
GRACE: ... is this?
(She holds up the bloodied capsule for SAM to see.)
CUT TO:
[MAGNIFYING VIEW]
(GRACE carefully opens the capsule. Inside is a note.)
GRACE: "Within 24 hours you will be purified like me.' He couldn't have left
this on a notepad somewhere?
BAILEY: You're basing your logic on logic, Grace.
SAM: All of his letters talk about inner peace, cleansing from within.
(Quick flashback to: The bottles of water ... the iodine. A microscopic germ.
End of flashback. Resume to SAM.)
SAM: Grace, will an overdose of iodine cause liver damage?
GRACE: Oh, yeah.
SAM: I found iodine tablets by his bed. He was using them to purify his water.
It's the water. To cleanse, to purify.
BAILEY: Water supplies the power plant. It's also regulated by the government.
[CLOSE UP: OF DIGITAL WATCH: 1828 ... 1827 ... 1826 ... ]
[EXT. ROAD TO POWER PLANT - DAY]
(Sirens wail as cars hurry to the power plant. JOHN stands on the side
watching. He heads back to BAILEY.)
JOHN: 48 minutes and counting.
(BAILEY uses the binoculars and sees the sign.)
BAILEY: They got a hit.
(BAILEY glances at JOHN.)
BAILEY: Why don't you go help Coop. Just don't jump ship.
(Amused and game, JOHN joins COOP and SAM.)
BAILEY: Yeah, it's booby-trapped.
NICK COOPER: Ah, damn! I hate that. I'm bad with booby traps, which is good
'cause I can always use the practice.
JOHN: Need a hand?
NICK COOPER: Never ask a bomb tech that question. Actually, I could if you're
up for it.
(JOHN smiles ... somewhat.)
NICK COOPER: (to SAM) Great. Back in a flash.
(COOP leaves.)
(He and JOHN head back to the van.)
CUT TO:
(COOP and JOHN step out of the van. JOHN's wearing a vest, same as COOP.)
OFFICER: Perimeter's clear, Coop.
COOP: Thanks, man.
(They both head for the door. SAM and BAILEY watch from the side.)
(They slow as they get near. COOP sees the stuff on the door. He and JOHN
continue toward the door.)
NICK COOPER: You see it?
JOHN: On the door?
NICK COOPER: Yeah. We see one.
BAILEY: Just about 24 hours since Mazey died, guys. Hate to rush you.
NICK COOPER: Doesn't look too complicated.
(COOP touches the explosive with his fingers. He takes out a knife and scrapes
off a bit at a time.)
(FLASH TO: DIGITAL CLOCK: 623 ... 622 ... )
(COOP continues to scrape off the explosive a layer at a time.)
NICK COOPER: Shouldn't have had those beers last night. I got the damn shakes.
BAILEY: Coop, we have six minutes.
NICK COOPER: Yeah, I'm on it. (to JOHN) You see that? That's the wire we're
looking for right there.
(He exposes part of a wire. He takes out wire cutters and carefully cuts the
wire.)
NICK COOPER: That's one.
(He opens the door. They walk inside.)
(Inside are barrels of IODINE.)
JOHN: Place is filled with iodine.
(He and COOP search the area for other bombs.)
SAM: He blows up the tower, it'll dissolve into the water.
BAILEY: You see any other devices?
SAM: He may have placed it close to the water.
(JOHN looks down and finds the other hanging against the wall near a window-like
opening.)
JOHN: I think I found it.
(COOP leans close to look at the device from where they're standing.)
NICK COOPER: Ok, green wire's on the cap.
(The clock on the device reads: 3:19 ... and counting.)
NICK COOPER: (groans) Oh, man. How am I gonna get to that?
(Cut to: They're back outside the building, on the other side of the wall where
the bomb is located. COOP swings from the rope that they've set up toward the
window-like opening.)
NICK COOPER: Cut me some slack. Little more, little more. Ok, that's cool,
that's cool. (shouts) Time?
BAILEY: One minute, three seconds.
(COOP half-sits on the opening and can see another bomb clearly.)
NICK COOPER: John? We got another one right under there, man. It's on the lip
under the bridge. You wouldn't have any cutters on you, would you?
JOHN: Yeah.
NICK COOPER: Ok, you come over. I'll talk you through it. Come on.
(JOHN hesitates.)
NICK COOPER: Come on, man, you can do it. Come on.
JOHN: Ok.
(Swallowing, JOHN climbs over the ledge of the bridge while COOP opens his
pocket knife.)
NICK COOPER: Get down on the ledge, take a good look at it. Ok. Can you see
the blasting cap? Do you know what that is?
JOHN: Yeah. I got it.
NICK COOPER: Ok. What color are the wires?
JOHN: They're yellow and green.
NICK COOPER: Ok, do it.
(JOHN reaches out with his wire cutters just as COOP reaches around the wall
with his pliers. The clock on his bomb reads: :41 ... and counting.)
JOHN: Which one do I cut?
NICK COOPER: Cut the green one. Nice and easy.
(JOHN cuts the green wire.)
NICK COOPER: Bailey, how much time?!
BAILEY: 16 seconds.
(The timer on the bomb reads: 15 ... and counting.)
NICK COOPER: I'll tell you what, this is a whole lot like doing it blindfolded.
(TIMER: 10 ... and counting.)
BAILEY: You've got eight seconds.
NICK COOPER: Ok.
(He reaches out and positions the cutter. The timer reads: 4 ... 3 ... 2 ... )
(TIMER: 2 ... 1 ...)
(He cuts the wire.)
NICK COOPER: (shouts) We're good!
JOHN: (relieved) Yes. Yes.
NICK COOPER: We're good.
(COOP swings back to the ledge.)
NICK COOPER: You ok, man?
(JOHN smiles.)
NICK COOPER: Nice job.
(The two men laugh with relief.)
JOHN: (shouts) Yeah! Yeah!
CUT TO:
[OTHER SIDE OF THE DAM]
(SAM stands and looks at the tower. NICK appears next to her.)
NICK COOPER: So this dude spent 1/2 million bucks on iodine?
SAM: Uh-uh. He bought a star. Got himself listed in the interplanetary
registry in the nebula called Angeles 5.
NICK COOPER: Oh. Well, that makes more sense. So I'm thinking about our second
date. You know those, uh, helicopter rides you can take down through the grand
canyon?
(SAM doesn't say anything.)
NICK COOPER: Or we could just blow off the nature thing and go straight to
Atlantic City. You like to gamble?
SAM: No.
NICK COOPER: Oh. How do you feel about, uh, roller coasters?
SAM: Roller coasters make me sick.
NICK COOPER: Oh, ok.
(At a loss for what to say next, COOP searches for a stick of gum.)
SAM: Um ... movies.
NICK COOPER: Movies?
SAM: I like going to the movies. Call me boring.
NICK COOPER: Never.
CUT TO:
[ON MOVIE]
(The woman in the black and white French film has her arms wrapped around the
man's neck as she holds him close.)
WOMAN: (in French) (subtitled) You were sad and lonely that summer. I was so
sorry for you.
(SAM and COOP sit in the audience watching the French film. COOP eats his
popcorn while obviously not into the foreign film.)
NICK COOPER: (whispers) You like it?
(SAM doesn't take her eyes off the film.)
SAM: (nods) Oh, yeah.
NICK COOPER: It's very deep.
(He shoves more popcorn in his mouth.)
NICK COOPER: The subtitles seem a little short though, compared to how long
they're talking.
SAM: Shh.
NICK COOPER: Do you speak french?
SAM: (nods) Well, a little bit, yeah.
(They watch the movie for a while.)
NICK COOPER: Sam?
SAM: What?
NICK COOPER: I have no idea what's going on.
(SAM turns to COOP as she laughs. He leans forward and kisses her. SAM leans
forward and kisses COOP.)
(Sufficiently distracted, she kisses him completely.)
(Cut to: BLURRED view of the audience in the same theatre. The camera moves
around and settles on the man at the edge of the aisle a few rows away. He's
agitated. Blood-red rose petals fall from his arms onto the open newspaper
photo of COOP and SAM on the floor.)
(Camera holds as the petals fall on the newspaper, then suddenly zooms forward
toward the photo.)
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
1X05: UNSOILED SOVEREIGNTY
ORIGINAL AIR DATE ON NBC: 11/02/1996
TRANSCRIBED FROM DVD
ALLY WALKER as Dr. Samantha "Sam" Waters
ROBERT DAVI as Agent Bailey Malone
JULIAN McMAHON as John Grant
ROMA MAFFIA as Grace Alvarez
MICHAEL WHALEY as Nathan Brubaker
PETER FRECHETTE as George Fraley
ERICA GIMPEL as Angel Brown
CAITLIN WACHS as Chloe Waters
Created by: CYNTHIA SAUNDERS
Executive Producers: IAN SANDER
Executive Producers: KIM MOSES
Special Guest Star:
A. MARTINEZ as Nick "Coop" Cooper
ROB LABELLE as Ralph Mazey
Co-Producer: JOHN FORREST NISS
Produced by: ANTHONY SANTA CROCE
Supervising Producer: CYNTHIA SAUNDERS
Creative Consultant: KEN SOLARZ
Executive Producer: LARRY HERTZOG
Co-Executive Producer: NANCY MILLER
Written by: JEAN GENNIS & PHYLLIS MURPHY
Directed by: SARA PIA ANDERSON
==========================
END CREDITS
==========================
Sanders/Moses Productions
NBC Studios
NBC Enterprises
With
REBECCA LINDSEY as Kathy
REN HANA'MI as Newscaster
Story Editor: JEAN GENNIS
Story Editor: PHYLLIS MURPHY
Casting: ANTHONY BARNAO
Director of Photography: MICHAEL BONVILLAIN
Production Designer: JONATHAN CARLSON
Edited by: JON KOSLOWSKY, A.C.E.
Main Title Theme: ANGELO BADALAMENTI
Music by: JEFF RONA
Unit Production Manager: ANTHONY SANTA CROCO
First Assistant Director: BRUCE CARTER
Second Assistant Director: JEFF KAY
Costume Designer: TOM McKINLEY
Production Supervisor: ROBERT E. WOZNIAK
Camera Operator: THOMAS YATSKO
First Asst. Cameraman: BUTCH PIERSON
Dolly Grip: RICK MAXEY
Production Sound Mixer: KEN SEGAL
Second Second Assistant Director: LAURA SYLVESTER
Location Manager: RHONDA BAER
Gaffer: VANCE TRUSSELL
Key Grip: RONN COONEY
Construction Coordinator: ANDREW MOORE
Transportation Coordinator: STEVE ZERWECK
Script Coordinator: ERNIE ORSATTI
Special Effects Coordinator: LARRY FIORITO
Art Director: JEREMY A. GASSELLS
Art Department Coordinator: JANIENE KURI
Costume Supervisor: BREEZIE BROOKS
Set Decorator: RICHARD REAMS
Property Master: BLANCHE SINDELAR
Make-up Artist: CRISTINE CHADWICK
Hair Stylist: TAMMY KUSIAN
Production Auditor: BETHANY BROWN
Script Supervisor: JANEL F. REEVES
Production Coordinator: JANE EVERETT
Assistant to Executive Producer: NICHELLE M. FROTHO
Assistant to Co-Executive Producer: ANNE BRUNNER
Assistant to Producer: KIMBERLY DICKENS
Computer Graphics: PAUL LeBLANC
Video Playback: BOB MORGENROTH
Optical Online: ROGER BERGER
Post Supervisor: LYNN STEVENSON
Post Coordinator: GINA LAMAR
Main Title: SUZANNE KILEY
Supervising Sound Editor: PETER AUSTIN
Assistant Editor: J.J. ROGERS
Music Editor: KIM NAVES
Re-Recording Mixers: MIKE GETLIN / DEAN OKRAND / BILL THIEDERMAN
Da Vinci: RICK DALBY
Telecine: MACE JOHNSON
Autopsy Equipment Provided by: SHANDON LIPSHAW
Special Thanks to ROBERT WINSLOW and GREENPEACE for pollution stills
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) 1996 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:11/30/2003~lky
http://www.webphilia.com/~anthology/wnp.html