PROFILER
1X17: CRISIS
ORIGINAL AIR DATE ON NBC: 03/22/1997
TRANSCRIBED FROM DVD
Written by: BOB LOWRY
Directed by: MATT PENN
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 group of nuclear and military VIPs are taken hostage at a luncheon.
The VCTF is called in to handle negotiations. Meanwhile, Bailey's estranged
teenage daughter Frances moves in with him.
==========================
PROFILER
1X17: CRISIS
==========================
COLD OPEN.
[EXT. PARKING LOT -- DAY]
(A black van turns and stops in a parking lot. Two men wearing black exit the
front of the van and head for the back They open the back door. More men in
black exit the back of the van, some of them carrying a white box.)
(Flash of a man putting on a red sweater ski mask.)
(Four men wearing red sweater ski masks run across the metal catwalk. They make
their way to the back door, punch out the lock and quickly ease themselves into
the building.)
[INT. BUILDING - DAY]
(The men quickly rush through the back room. They grab a stack of linens off
the shelf. They open the linens and cover the tables lined up against the
wall.)
(The men carrying the white box, put the box down and open it. Inside are
weapons. They put the weapons on the bottom shelf of the cloth-covered tables.
They put more weapons on top of the tables.)
(They quickly get ready. They appear to be dressing up as waiters.)
[KITCHENS]
(The chef is cutting the meat. One of the men in the red ski masks quickly
takes out the chef.)
(A second chef putting the finishing touches on a cake "CONGRATULATIONS MARTIN"
drops his icing bag as he's quickly taken out.)
(The "waiters" push the cloth-covered carts past the chefs tied up and gagged on
the floor.)
[MAIN ROOM]
(In the main room, the program continues.)
MAN AT THE MIKE: Martin Zahn is the both brilliant and dedicated.
(One of the men in the red ski masks grabs the security guard from behind.)
MAN AT THE MIKE: He was one of the first to accept the philosophy of mutually
assured destruction, a philosophy which met many opponents.
(The "waiters" make their way toward the main room. Someone stands behind the
camera video recording the program.)
MAN AT THE MIKE: Democrat and republican hawks were dumped. There isn't anyone
who doesn't know the name of Martin Zahn. And so it is with great pleasure that
I present to you this afternoon a man of great principles, Martin Zahn.
(As if on cue, the "waiters" take out their automatic weapons and fire them up
into the air. The audience sitting at the tables scream and duck. They
continue to fire. Tables are overturned to provide some protection from the
assault.)
(A white-haired, white-bearded man makes his way to the stage. One of the
INTRUDERS takes control of the video camera.)
WHITE-HAIRED MAN: Don't panic! You won't be harmed. (to the MAN WITH THE
GUN.) This room secure?
MAN WITH THE GUN: Secure.
(He holds up his own gun.)
WHITE-HAIRED MAN: After my demands are met, you'll all be released. You should
be happy.
(He puts on a pair of glasses.)
WHITE-HAIRED MAN: This is the day when my lifetime of wrongs will finally be
made right.
FADE TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
[TV MONITOR]
ROBERT JESSMAN (TV REPORTER): (from tv) Washington D.C., The home of the
latest terrorist action to assault this country.
OFFICER: Do you believe that? You can't toss a rock without hitting some nut
with a gun.
ROBERT JESSMAN (TV REPORTER): (from tv) Martin Zahn, founding member of
patriots for peace, a group which advocates ...
(BAILEY walks into the office.)
BAILEY: I'm Bailey Malone. I believe we spoke on the phone this morning. My
daughter Frances called me.
(They shake hands.)
DEPUTY DURANO: Agent Malone, I'm Deputy Durand
BAILEY: What's she doing in lockdown?
DEPUTY DURANO: Sir, I know you're in Atlanta, and I don't know what she's told
you, but this isn't her first time in the system.
(He hands BAILEY a file folder.)
DEPUTY DURANO: Vandalism last month. Last week, she was arrested in a
video/music store. Shoplifting. Last night, she was pulled in as being an
accessory.
BAILEY: Alleged accessory.
DEPUTY DURANO: Yes, sir, alleged accessory. But for a felony. Armed robbery.
BAILEY: Take me in. I want to see her.
DEPUTY DURANO: Yes, sir.
(DEPUTY DURAND grabs his keys off the desk and leads BAILEY to the holding
cell.)
DEPUTY DURANO: You take all the time you need.
(He unlocks the cell door. BAILEY hands the file folder back to the DEPUTY.
FRANCES MALONE is lying on the bed when BAILEY walks into the cell.)
FRANCES MALONE: Daddy!
(She hugs him.)
BAILEY: Look at you. You're so thin, Frances. You're not sick, are you?
FRANCES MALONE: No. No, I'm all right. I just forget to eat sometimes.
(BAILEY kisses FRANCES on the top of her head.)
FRANCES MALONE: Look, can we go now, 'cause ... the food here sucks worse than
mom's.
(FRANCES turns and grabs her jacket off the bed. She puts it on.)
FRANCES MALONE: I wish you'd teach her how to cook, daddy. I actually had a
dream about your homemade linguini last week.
BAILEY: Frannie, why didn't you call and tell me you were in trouble?
FRANCES MALONE: I'm not in trouble. I didn't do anything. Some ... some guys,
they lied to me, and I just happened to be there. The cops, they made up a lot
of that stuff.
BAILEY: What guys?
(She sits on the bed.)
FRANCES MALONE: Look, we were just ... hanging out, and we were gonna go see a
movie. Randy said that, you know, we had to stop and pick something up. I
didn't know.
BAILEY: What about the music store?
FRANCES MALONE: Oh, that. Well, um ... I put this CD in my pocket, you know,
because a lot of my school books and stuff ...
BAILEY: I read your file, Frannie. (He sits down next to her.) The CD wasn't
in your pocket. It was in your backpack, and there were twelve of them.
(She gets to her feet.)
FRANCES MALONE: It--it was a setup, daddy. These cops, they -- come on,
they're always out for us kids. Always!
BAILEY: Ok. Then give me a good reason why three different police officers
would want to ... file false reports on you. (He stands up and walks over to
her. He sighs.) I'm your father, Frances, and I love you. But I can't help
you if you lie to me.
(His beeper goes off.)
FRANCES MALONE: (scoffs) Let me guess, something more important than me.
BAILEY: There's nothing more important to me than you and your sister.
Nothing. I'm going to make some calls, see what I can do to get you out of
here, but it's going to take time.
FRANCES MALONE: Great. And what am I supposed to do in the meantime?
(She walks back to the bed and sits down.)
BAILEY: Think about your life and where it's going.
(BAILEY steps out of the cell.)
BAILEY: When I get back, I want to hear your plan.
CUT TO:
[EXT. ST. ANGELA'S (STOCK) - DAY]
LEGEND:
ST. ANGELA'S
CHILDREN'S HOME
(SISTER MARY helps BILLY put on his shoes.)
SISTER MARY: These are very fine shoes, Billy.
BILLY: Some other kid wore them first.
SISTER MARY: Yes, and look how much he played in them. They must be very good
shoes.
(BILLY turns and leaves. SAMANTHA turns the corner and walks up to SISTER
MARY.)
SISTER MARY: Dr. Waters! What a lovely surprise.
SAM: Sister Mary, I just wanted to drop by and see how you're doing.
SISTER MARY: Oh, I'm just fine. I was just on my way to chapel.
SAM: Cute little boy.
(They turn and head for the Chapel.)
SISTER MARY: Oh, yes. And very smart, too. He's always asking who the men in
the dark suits are. I can handle hand-me-down shoes, but I don't know how to
explain FBI agents on the playground.
SAM: Well, it's a necessary precaution until we make sure that Jack isn't
coming back, Sister.
SISTER MARY: I know. Now, I have done what you've asked, and I think I'm
making some progress, and -- yo, Charlie! (She high-fives a little boy running
past them.) Now, Mr. Carruthers -- Jack, as you call him -- always had a
pleasant scent about him. I was thinking ... maybe it was his aftershave. It
was floral.
(Quick flash of: ROSES ... and a message, MISS YOU SAM. End of flash. Resume
to present.)
SAM: Could it have been rose water?
SISTER MARY: No, my grandmother wore that. That's lovely, but this is
something else.
(SAM'S pager beeps. She checks it.)
SAM: Oh, sorry.
(The message reads:
01.33-RETURN TO VCTF.
SAM: Oh, I have to get back to the office. Well, listen, Sister, if we
compiled various samples, do you think that you might be able to recognize the
scent?
SISTER MARY: Most definitely.
SAM: All right, great. I'll arrange a meeting then. And if you remember
anything, anything else at all, please don't hesitate to call me.
SISTER MARY: All right.
(SAM turns and leaves.)
CUT TO:
[EXT. FBI BUILDING (STOCK) - DAY]
[INT. VCTF - COMMAND CENTER - DAY]
(SAM walks into the room.)
BAILEY: Sam, we've got fifty-five gold-plated hostages, five terrorists, and
the guru of our nuclear arsenal, Dr. Martin Zahn running the show.
JOHN: It went down about an hour ago at the park plaza hotel in D.C. A few
special agents and some private guards, the terrorists were on top in minutes.
It was very clean.
SAM: The radio said they were shooting inside.
JOHN: We have wounded. We're not too sure exactly how many. Nobody killed.
Now, Zahn was getting an award from a coalition of Political Hawks known as the
Patriots for Peace. The show was going around the world.
SAM: What does he want?
BAILEY: Three things. Let him tell you.
(On the monitor, the video plays.)
MARTIN ZAHN: I simply want sanity, but you apparently want specifics, so number
one: No first strike. Now, the president must say once and for all that we
will never be the first to use nuclear weapons. Number two: Full disclosure of
the size and deployment of our strategic arsenal. You publish the list in ten
major newspapers. I will know if you're lying.
COFFIN WOODRICK: Martin, you're overwrought here.
(The video stops.)
JOHN: FBI in D.C.
BAILEY: Coffin Woodrick. He's also a Patriot for Peace.
(Video resumes.)
COFFIN WOODRICK: Now, just take it easy, will you?
(One of the GUNMEN walks up to him and uses the butt of his rifle to hit him in
the face.)
COFFIN WOODRICK: Oh!
CROWD: Ah!
CHASE DONNER: Oh! Please, Martin, this is absurd! You're be -
(Video stops again.)
JOHN: The slick in the pinstripes is Chase Donner, CEO of FissionDyne. Made
his millions processing weapons-grade uranium and the like.
(Video resumes.)
GUNMAN: Sit down!
(Video stops again.)
JOHN: In uniform, four stars, General Quentin Mettzinger, second from the top
in the gulf war.
BAILEY: He kept advising the joint chiefs to nuke Baghdad. Schwarzkopf had to
keep telling him no.
(Video resumes.)
MARTIN ZAHN: Number three: For my friends who stand with me to put an end to
our nuclear nightmare, I want full amnesty. I'm through deliberating. I want
full cooperation, or I will escalate, and I do understand the concept. You give
me what I want by four o'clock, or I will--I will start the killing.
(He holds up his gun.)
BAILEY: (v.o.) Then he pulled the plug.
MARTIN ZAHN: Cut the cameras.
(Video goes out.)
BAILEY: I was in Maryland when I got word. Frances. I'll tell you later.
SAM: So, why do they want you to handle it?
BAILEY: The guy we just saw -- Coffin Woodrick, Chief Negotiator for the D.C.
Hostage Rescue Team. I trained him. I'm the backup. Zahn made out the guest
list himself.
SAM: Zahn wants all the edge he can get.
BAILEY: He must think he can hamstring the HRT with an unfamiliar voice.
(Quick flashes of: MARTIN ZAHN on stage, the video and an old reel footage of a
nuclear bomb's mushroom cloud. End of flash.)
BAILEY: First impressions?
SAM: Well, it's obvious Zahn isn't telling us everything. I mean, his demands
are plausible enough, but he's smart enough to know that the president can't
allow National Security Policies to be changed by these bullying tactics.
JOHN: He could go along with the first-strike thing, say that we'll never be
the first to launch the missiles. It's only words.
BAILEY: But full disclosure? Zahn designed half the weapons. He'd know if a
list was accurate or not. We'll never do it.
SAM: Hostage takers have suicidal tendencies and are quite often delusional. I
mean, maybe he's just raving, or maybe what he really wants, he hasn't gotten to
yet.
BAILEY: That's what we have to figure out. The chopper's standing by. We'll
get a little more background under our belts, then you and I will head to D.C.
John will coordinate here.
SECRETARY: (from Intercom) Agent Cooper on line 4.
BAILEY: Coop's on-site in D.C. Hey, Coop, I've got you on the speaker. What
do you got?
COOP: Well, we got a mess.
INTERCUT WITH:
[EXT. D.C. - OUTSIDE BUILDING - DAY]
COOP: We can't get into the room, so we're setting up microwave mikes as we
speak, and I think we got the video. Have you been getting our pictures yet?
(The video goes on the monitor.)
SAM: Yeah, we got 'em, Coop. How close to Zahn can you get?
COOP: There's a parking lot out back, we got the lobby, got the upper floors,
but you can forget about taking him down without a fight. His people have
already wired the doors with grenades. We I.D.'D their van but can't get to it
'cause they've got a man on it with a rifle. He sent a warning shot across my
bow when I tried.
BAILEY: You should leave it alone, Coop, until we can ascertain how serious he
is about harming the hostages, so freeze the situation till we get there.
COOP: You got it. See you soon.
(Coop hangs up.)
JOHN: We just downloaded Zahn's Department of Defense dossier. He's 59,
credited for the work behind our newest generation of warheads. Last guy in the
world you'd think would suddenly want to ban the bomb. He's a widower. His
daughter died last year of leukemia.
SAM: Maybe he's suffering from post-traumatic stress disorder that would
explain the 180 in his behavior.
JOHN: His only living relative is his younger brother Albert, also a scientist,
works for FissionDyne, Donner's company. It's quite a club.
SAM: I can look at the rest of this in the air. If Zahn drew up the guest list,
I'd like to get a background on everybody in that room, John.
JOHN: Yeah, you bet. We're also getting a visual-recognition team on board to
try and I.D. the terrorists.
BAILEY: Also give us a deep background on Zahn, his brother, friends, any other
family.
JOHN: I already started that, came up with something already. Zahn hasn't been
too happy on the job. Got disenchanted with his defense work recently. So much
so ... his brother turned him in.
SAM: So why is patriots for peace giving him an award?
JOHN: He mended his ways.
BAILEY: Well, lucky for us. Otherwise, we'd have real trouble.
CUT TO:
[EXT. HELICOPTER (FLYING) - DAY]
LEGEND:
WASHINGTON D.C.
[EXT. VARIOUS SCENES OUTSIDE BUILDING]
[EXT. D.C. - OUTSIDE BUILDING - DAY]
(SAM and BAILEY head over to COOP.)
BAILEY: Coop.
COOP: Hey.
BAILEY: What's the sit rep?
COOP: Pretty much the same. We still don't know who's hurt or how bad. We
tapped a hard line into a phone that rings at the podium. That's your end right
there.
BAILEY: The mikes working?
COOP: Yeah. All we're getting so far is a lot of low chatter.
(Quick flashes of MARTIN ZAHN inside. End of flashes.)
SAM: He probably knows that we're listening. This is not a desperate man
lashing out. This guy has planned every step. He knows exactly what he needs
to achieve his goals, whatever they might be.
BAILEY: Why don't we ask him?
(BAILEY and SAM walk over to the phone. The agent hands BAILEY the phone. SAM
listens in.)
(It starts ringing. MARTIN ZAHN answers.)
MARTIN ZAHN: Zahn here.
BAILEY: Hello, Dr. Zahn,
MARTIN ZAHN: ... you'd be Bailey Malone,
BAILEY: I'm Bailey Malone -
MARTIN ZAHN: Twenty-three years with the FBI, former Chief Negotiator for the
D.C. Hostage Rescue Team. You hand-picked and trained our guest Coffin
Woodrick.
BAILEY: You did your homework. I'm not surprised.
MARTIN ZAHN: You have three and a half hours to deadline. I hope you're using
your time wisely.
BAILEY: We are. Dr. Zahn, the President is Consulting with the Executive
National Security Council as we speak. Hello?
(There's some interference.)
SAM: He didn't hang up. He may have a way of verifying what you're saying,
Bailey.
(MARTIN ZAHN turns to look at the people near the radio. The man shakes his
head, no.)
BAILEY: Hello?
MARTIN ZAHN: You're a liar, Malone. We've been monitoring the white house
communications frequencies and the president is still in Arizona. Stop wasting
time.
(He hangs up.)
COOP: They have a SAT-Com link.
BAILEY: I expected as much. Zahn has clearance with the White House Comm Net.
SAM: Woodrick and you. He knows how we work.
COOP: We need to throw this man a curve.
BAILEY: He knows our personnel, he knows our playbook.
SAM: So, let's re-write it. Playbook says that when the negotiator is on the
scene, the kidnapper hears that single voice. Let's give him another voice.
Let me try talking to him.
BAILEY: Let's do it. Surprise him.
(BAILEY hands the phone to SAM. It rings inside.)
MARTIN ZAHN: Hello?
SAM: Dr. Zahn? My name is Samantha Waters. I'm a Forensic Psychologist for the
FBI.
MARTIN ZAHN: Where's Malone?
SAM: I'll give you Agent Malone in a minute. The FBI would like me to verify
that you keep your word about the hostages if we meet your demands.
MARTIN ZAHN: How do you propose to do that?
SAM: Well, I'll need to speak with you, Dr. Zahn.
MARTIN ZAHN: You think you can get to know me by talking to me for a few
minutes? You have a very high opinion of your skills, Ms. Waters.
SAM: Well, I'll know you better than I do now.
(He considers it.)
MARTIN ZAHN: By all means. I thoroughly approve. Let's get to know each
other. I'll tell my people to let you come in.
SAM: I'll get back to you.
(MARTIN ZAHN hangs up.)
SAM: I guess I'll go have a little chat with Dr. Zahn.
COOP: That's not the greatest idea I ever heard.
SAM: Coop, I think we have to take advantage of this. I mean, he's got the
situation under control. He's got a roomful of hostages. I've a better chance
of finding out what his true agenda is face-to-face.
COOP: Yeah, but there's got to be another way of doing that, right?
SAM: Coop--
BAILEY: There are plenty of ways, coop. This is the quickest. She knows what
she's doing. She's going in.
COOP: Then I'm going with her.
BAILEY: Ok. You'll pose as a medic. Recon the setup. Ten minutes under a white
flag.
(SAM picks up the phone again. It rings; he answers it.)
MARTIN ZAHN: That was fast.
SAM: Ten-minute truce, Dr. Zahn. I'm coming in, but I am bringing a medic with
me to care for the wounded.
(He looks over at the wounded people.)
MARTIN ZAHN: Ok. Unarmed, of course.
SAM: Of course.
(He hangs up.)
BAILEY: Ok. Now, the place is miked, so you can give a verbal signal.
SAM: "We need more time."
BAILEY: No, Sam, that's it. Ten minutes.
SAM: No, no. Bailey, that's the signal if I need you to bail me out. "We need
more time." You hear that, you just break down the damn door, all right?
BAILEY: Of course. You know I will.
(They turn to get ready.)
[LATER]
(COOP is dressed as a medic. He walks along side SAM.)
COOP: Look, Sam, later, in case I don't get a chance to tell you --
SAM: Coop, I know.
COOP: No, no. I need you to remind me not to call Bailey "Man." He just hates
that.
(They walk up to the front door where the man in the red ski mask lets them
inside.)
CUT TO:
[INT. JACK'S PLACE - DAY]
(JACK watches the television report.)
REPORTER (WOMAN): Dr. Samantha Waters, a member of the Violent Crime Task
Force, was carted to ...
JACK: Dear god, don't you take my Sam ...
(He cries.)
REPORTER (WOMAN): On conditions, the reports are that Dr. Waters is now being
held hostage along with ...
JACK: Dear god ... don't you take my Sam!
FADE OUT.
FADE IN.
[EXT. VARIOUS PARK PLAZA HOTEL -- DAY]
[INT. PARK PLAZA HOTEL - DAY]
(SAM and COOP are lead into the main ballroom. MARTIN ZAHN waits on the stage.)
GUNMAN: They're clean. No weapons, no bugs.
(A GUNMAN grabs a WOMAN HOSTAGE'S bag.)
WOMAN HOSTAGE: Give that to me! I need my medication.
(He turns it upside and drops its contents on the floor in front of her. The
General stands up.)
MARTIN ZAHN: General...sit. You're not in charge here.
(The GUNMAN pushes SAM toward MARTIN ZAHN. COOP, meanwhile, looks around the
room noting where everything and everyone is. He sees the men at the radio
fiddling with the dials.)
COOP: Oh, no.
[COMMAND CENTER VAN - DAY]
JOHN: (from radio) What's he see?
BAILEY: Contrary to popular opinion, John, I'm not superman. I can't see
through walls. Let's filter out this background.
[HOTEL]
(The men at the radio continue to fiddle with the dials. COOP looks over at the
wounded.)
COOP: These the only wounded?
VOICE: There are five of them.
(COOP heads for the wounded as the GUNMAN leads SAM over to MARTIN ZAHN.)
MARTIN ZAHN: Dr. Waters?
SAM: Thank you for letting me come.
MARTIN ZAHN: You're not a member of Coffin Woodrick's hostage negotiating team,
are you?
SAM: No.
COOP: (quietly) I count fifty-five hostages, five of them wounded, and one may
be critical.
(In the van, JOHN and BAILEY take notes.)
MARTIN ZAHN: Why did he send me a psychologist?
SAM: They want me to make sure that you're telling the truth about releasing
the hostages.
MARTIN ZAHN: Oh. I don't need therapy. You know what I need.
COOP: There are five shooters maintaining clear fields of fire. They have
customized FN-Fal assault rifles and grenades.
(In the van, BAILEY takes notes.)
BAILEY: FN Fals. That's a hell of an assault rifle.
MARTIN ZAHN: What audio surveillance is your team using? Microwave or
structural?
BAILEY: Tell him, Sam.
SAM: Both.
BAILEY: Good girl.
MARTIN ZAHN: Ah, of course. If all of this should fall apart, what's the code
phrase you're going to use to signal your men?
SAM: "You're passionate in your beliefs."
MARTIN ZAHN: You must think that I'm crazy.
SAM: No. Being passionate doesn't qualify you for insanity. At least, you
haven't done anything insane, like kill any of these people yet.
MARTIN ZAHN: I have advanced the madness of nuclear warfare and gifted our
country with first-strike capabilities. Don't tell me I haven't killed. I have
killed beyond imagining.
SAM: Dr. Zahn, I can understand that that might weigh heavily on your mind ...
but--
MARTIN ZAHN: I'm not interested in your understanding. I want the United
States to renounce first strike. Even Russia did that.
(Quick flash to: MARTIN ZAHN'S bio on the monitor and the nuclear bomb's
mushroom cloud. End of quick flash.)
MARTIN ZAHN: Do you have any kids?
SAM: Yes. I have a daughter.
MARTIN ZAHN: Oh. Billions are spent constructing weapons that can never be
used. Schools aren't being built. The homeless aren't being housed. The
hungry aren't being fed. The sick aren't being taken care of.
SAM: That's a beautiful dream, Dr. Zahn.
MARTIN ZAHN: That's not my dream. That's my mission.
COOP: Excuse me. I count five people who need to go to the hospital. Can I
get some help in here to carry them out?
MARTIN ZAHN: Oh, by all means. Take as many as you need back here. I won't be
needing them.
SAM: You're releasing the hostages?
MARTIN ZAHN: Some of them. Easier to feed, easier to guard. Radford?
RADFORD: Sir?
MARTIN ZAHN: Prepare to release forty-five hostages. Keep ten, including the
general here and ... Woodrick, and Chase Donner.
SAM: This is good, sir. This will help with the negotiations.
MARTIN ZAHN: The only thing that's going to help with negotiations is if you
convince your team that I'm not going to budge an inch, because, in an hour, I'm
gonna start killing everybody who's left.
(He walks away.)
(Cut to: The hostages are helped out of the main ballroom.)
SAM: Are you ok?
COOP: Yeah.
(SAM turns to follow them out. He stops her.)
MARTIN ZAHN: Wait. You stay.
SAM: Dr. Zahn, why don't you tell me what you want specifically so that I can
negotiate on the outside for you?
MARTIN ZAHN: I like you. You can do all that from here.
COOP: Is there a problem?
MARTIN ZAHN: No. And don't make one.
COOP: I don't intend to. Uh ... but I do want to remind you, the deal was we
both come in for ten minutes, then we both leave. Now, I've been through a lot
of these things, and it's better for everybody if we all stick to the rules.
SAM: I don't think there's any more you can do here.
COOP: With all due respect, Dr. Waters, I can't walk out of here without you.
I'd never live it down--
(COOP steps forward to grab SAM, but the GUNMAN behind him knocks him out.)
SAM: Oh, my god!
CUT TO:
[EXT. PARK PLAZA HOTEL - DAY]
(COOP is on a gurney being brought to. He wakes up. Once he realizes where he
is and what's happened, he tries to get up. BAILEY pushes him back down on the
gurney.)
BAILEY: Stay down.
COOP: Where's Sam?
BAILEY: She's still inside.
COOP: Oh, hell.
BAILEY: There was nothing you could do.
COOP: What happened?
BAILEY: One of the gunmen clipped you on the back of the head with a rifle
butt. You want to go to a hospital?
COOP: (sighs) No.
(He tries to get up, but the paramedic doesn't let him.)
COOP: Bailey, I'm fine. I'm ok.
BAILEY: Ok. Let's go inside. Tell me what you saw.
COOP: I can't believe I let that happen.
BAILEY: You didn't have a choice, Coop.
COOP: She's alone in there, Bailey.
BAILEY: I know.
COOP: Well, I hope so, 'cause it was a hell of a lousy idea to let her go in in
the first place.
INTERCUT WITH:
[INT. VCTF - COMMAND CENTER]
(JOHN is on the headset.)
JOHN: You're the one who left her, Coop. Bailey's deal was a ten-minute white-
flag face-to-face.
COOP: I got news for you, John. There is no white flag in that room. It's
more like weapons and insane people. You clear on that?
BAILEY: It was my call. I take full responsibility, if that's what you need to
hear, Coop. Now let's stop wasting time and energy. The only way to help Sam,
and that's what we all want, is to come up with a plan, and I want that in ten
minutes.
JOHN: Ok, so what's the deal on releasing hostages? That's a bad move for
Zahn, any way you look at it.
COOP: It was his idea. Fewer people to watch, he said.
JOHN: Well, I don't buy that. What's really going on in there?
BAILEY: Let's leave that for a moment, John. If Sam needs us to come in after
her, she knows what to say.
COOP: Oh, yeah. "We need more time." Ain't that the truth?
BAILEY: Try and focus, Coop. What did you see inside? The gunmen were all
clean-shaven, and there was one African-American, one Asian, and two caucasians.
JOHN: It's quite an eclectic group. We're not talking shining path or Al
Fatah.
BAILEY: Or militia. White supremacists don't mix with Blacks and Asians.
COOP: Whoever they are, they were totally strapped. They had flak jackets and
hand grenades, at least four apiece. They had banana clips, probably thirty
rounds a pop. The guy in charge was maybe 6'3", salt-and-pepper crewcut, hazel
eyes. He was favoring his left shoulder like he had an old injury. He, uh ...
he was wearing some kind of green leadership tabs on his epaulets.
BAILEY: Well, that's not regulation.
JOHN: But it gives me something to work with. Oh, by the way, Coop, what was
that "oh, no" stuff before you left the room? You break a nail?
COOP: Huh! You don't miss a beat, do you? I spotted their SatCom device. Next
to it was a whole bunch of big-ticket electronic countermeasure equipment, which
means it's just a matter of time before they jam our mikes.
BAILEY: Leaving us deaf and blind. John, I want Coop's description of the
terrorists turned into faces and identified.
CUT TO:
[INT. PARK PLAZA HOTEL - MAIN BALLROOM - DAY]
(SAM walks around the room. An older man motions for her; she walks over to
him.)
OLDER MAN: I have money. Let me buy us out.
SAM: I really don't think that that's what they're interested in.
WAITER: Well, he could try.
OLDER MAN: Just know that you have a blank check.
WAITER: Look, I took this extra shift for the 20 bucks. They don't need me.
I'm nobody.
OLDER MAN: Well, I am somebody. You have no idea.
SAM: Please. People are working very hard to get us out of here. You just have
to try to stay calm. Everything is going to be fine.
(MARTIN ZAHN suddenly steps onto the stage.)
MARTIN ZAHN: (angry) Turn on the camera. Agent Malone, I've been very
reasonable. I've allowed medics to come in here and care of the wounded. I've
released forty-five hostages. In return, I have received nothing. Now, you're
playing me like a fiddle. In fifteen minutes, it's going to be four o'clock,
and that's when the killing is gonna start. And it's going to start with Dr.
Waters. Thank you!
(In the van, the signal is jammed.)
COOP: Well, that's it. They're jamming us.
BAILEY: That's not it. Find another frequency.
COOP: The problem is, their system scans automatically, then jams whatever it
hits. It's a hard machine to stay ahead of.
BAILEY: I'm well aware of that, Coop. Find another frequency.
SAM: Dr. Zahn. Dr. Zahn, we need more time.
MARTIN ZAHN: They've had more than enough time. I'm sorry.
(MARTIN ZAHN walks away. SAM turns and looks at the radio equipment.)
FADE OUT.
FADE IN.
[EXT. FBI BUILDING (STOCK) - DAY]
[INT. VCTF - COMMAND CENTER - DAY]
(The AGENT hands JOHN the report. He grabs it.)
JOHN: Oh, great!
(He goes through the report.)
BAILEY: What have we got, John?
JOHN: We just I.D.'D the leader. He is a mercenary. Bryce Radford. Never
served, but does private jobs out of Belgium. His green leadership tabs were
the giveaway. The other four are his team.
BAILEY: Fits with using the assault rifles. What do we have on family and
friends?
JOHN: Yeah, here's the background on Zahn's brother Albert, all right?
(The computer screen reads for ALBERT ZAHN [RF#928991]:
ALBERT ZAHN
NUCLEAR SCIENTIST
First Name: ALBERT
Middle Initial: T.
Last Name: ZAHN
Race: CAUC
Height: 5'9"
Weight: 180
Eyes: Blue
Hair: Brown
DOB: 4/28/35
Address: 87 Trumpler
Washington,
DC
Phone: (804) 555-0140
Soc Sec#: 906-54-2687
1955. Graduated from University of Chicago Metallumbical School of
Engineering
1957-1969. Joined the National Academy of Sciences for Scientific Research
and Nuclear Engineering
(Screen 2)
1960-1965. Appointed to the Presidents Nuclear Scientific Research Board
1965. Published a Report on Science and Public Policy
1965-1970. Joined the U.S. Senate Subcommittee on Science and
Technological Mobilization of Nuclear Weapons
1970-1975. Head, The National Science Program for the Libyan Governments
effort to secure Nuclear Capability
1975. Published the Bulletin of Atomic Scientists
1975-1979. Head Physicist, Atomic Energy Research Laboratories
1979-1990. Chairman of the Joint Committee on Atomic Energy
1990-1995. Developer, Nuclear High Energy Accelerator for the Rand
Corporation
1990-1997. Received the Harvard Nobel Laureate in Nuclear Engineering
*****END OF FILE*****
JOHN: He worked for Donner's company until '93, then he took a contract for
nuclear weapons work with the Libyans. He must've come back to have that blowup
with Zahn last year.
JOHN: I'll keep digging.
BAILEY: Use a bulldozer, John.
CUT TO:
[EXT. PARK PLAZA HOTEL (STOCK) - DAY]
[INT. PARK PLAZA HOTEL - MAIN BALLROOM - DAY]
MARTIN ZAHN: All right, let's avoid spectator interference. Let's take the
General, Donner, put them back here against the wall. Now, everybody else on
this side of the room. (to SAM) You come with me. (shouts) Come on! Move!
Come on!
(Everyone scrambles to comply with his directive. MARTIN ZAHN grabs SAM and
pulls her with him across the room.)
SAM: Violence isn't going to further your cause. You should know that more
than anyone.
MARTIN ZAHN: I know more than anyone what I have to do.
OLDER MAN: Martin, you're smarter than this. Don't kill her. It's the worst
thing you can do.
MARTIN ZAHN: I've already done the worst thing I can do. Have they complied?
(The MAN at the radio shakes his head.)
SAM: We need more time.
MARTIN ZAHN: Death is inevitable, Sam. No matter how much time we have, it's
the second law of thermodynamics. Inescapable.
(MARTIN ZAHN pushes SAM down to her knees facing the camera.)
SAM: This isn't inescapable. There are alternatives.
MARTIN ZAHN: It's a moot point. Camera!
(The video feed is turned on. On it, MARTIN ZAHN, holds his gun against SAM'S
shoulder. JOHN, BAILEY and COOP watch.)
MARTIN ZAHN: Let's be clear. Dr. Sam Waters is going to die today. But we all
share in her destiny. It's only a matter of timing. Now, we can all fill a
million graves with nuclear weapons and bury them forever, or you might as well
take a gun and put it to your own head and pull the trigger.
JOHN: Bailey, Coop, for god's sakes, get there. Get there!
(A helicopter flies overhead.)
(The members of SWAT stand outside getting ready. From the underside of the
metal catwalk, MEN rush forward.)
(The door to the main ballroom bursts open. SWAT members in black carrying
automatic weapons step into the room and fire. One by one, they take out the
mercenary team.)
(COOP and BAILEY rush into the room. They look around and see MARTIN ZAHN and
SAM rushing out the back.)
COOP: There!
(They chase after them out of the main ballrooom.)
[KITCHEN]
(The small group of people rush through the kitchen.
VOICE: Hurry up!
(COOP and BAILEY enter the kitchens.)
MARTIN ZAHN: Stay back! I'll kill her!
(COOPY and BAILEY slowly advance on them as MARTIN ZAHN and his smaller team
retreat.)
(They exit the building. BAILEY and COOP run to catch up.)
(MARTIN ZAHN closes and bars the exit door from the outside. BAILEY and COOP
both put their shoulders to the door.)
BAILEY: (to radio) Inner perimeter, be advised that they're on the north side.
(BAILEY and COOP leave to find another exit.)
(MARTIN ZAHN holds his gun to SAM'S head as they exit the building. The SWAT
team member has MARTIN ZAHN in his crosshairs.
MAN: (from radio) Suspect and hostages are heading toward the van.
(BAILEY and COOP exit the building. An AGENT hands BAILEY a radio.)
BAILEY: (to radio) Deadeye one, this is Bailey Malone. Do we have a green
light on Zahn?
DEADEYE 1: Negative. No confidence.
BAILEY: Deadeye 2?
DEADEYE 2: No confidence. Should I neutralize Radford?
BAILEY: Not if we can't get them both. Stay on them. If you get confidence,
fire at will.
COOP: Johnson, get a chopper in the air. Have him track the van VIP. Do not
approach or harass. Eye contact only. You got it? Go.
BAILEY: Can anybody get a shot at Zahn?
DEADEYE 1: Negative. Cannot engage.
BAILEY: Damn it.
COOP: Son of a bitch!
(A helicopter flies in the air above.)
[INT. VCTF - COMMAND CENTER - DAY]
(JOHN tracks the van on the monitor, MAP SECTOR {DC57.DC82}.)
JOHN: They've turned onto a secondary road outside of Alexandria. There's not
much there -- a few farms, treatment plant for the municipal water district ...
and Mckenna Airfield.
INTERCUT WITH:
[INT. VAN]
BAILEY: It's got to be Mckenna.
(He grabs the phone.)
BAILEY: Let's get all units to McKenna Airfield.
(Police cars rush down the road, their sirens blaring.)
[INT. VAN (MOVING) - DAY]
(BAILEY hands the radio to COOP.)
JOHN: Is she all right, Bailey?
BAILEY: Last I saw. He needs her to get out. She'll make it.
INTERCUT WITH:
[INT. VCTF - COMMAND CENTER - DAY]
JOHN: Yeah.
BAILEY: John?
JOHN: Yeah ... I know.
BAILEY: How are we doing with his brother?
JOHN: I found him--that is, I found out what happened to him, but it wasn't
easy. The reason he fell off the map is that the Libyans have him on a hit
list. The pentagon's very cagey about the whole thing. They said no way is he
going to come out to a public place.
BAILEY: Let's locate this guy, John.
JOHN: I'll keep working on it.
[EXT. ATLANTA CITY (STOCK) - DAY]
LEGEND:
ATLANTA, GEORGIA
[EXT. SIDEWALK - DAY]
(SISTER MARY walks on the sidewalk with a female agent.)
SISTER MARY: I don't much go in for shopping since taking my vows, but I still
like to look.
AGENT MARGO KLEIN: That's how I feel about being married.
(SISTER MARY suddenly stop and walks toward the tobacco store. In the window is
a sign, AROMATIC BLENDS.)
(SISTER MARY heads into the tobacco store. The FEMALE AGENT follows.)
[JACK'S POV]
(JACK walks into the tobacco store and sees SISTER MARY at the counter.)
JACK: (to the phone) I don't care what they said to you. What they said is
wrong.
SISTER MARY: (to May I sample some of these tobaccos?
SHOPKEEPER: For yourself, sister?
AGENT MARGO KLEIN: Hey, it's the nineties.
(The TOBACCO SELLER brings out a jar of tobacco leaves.)
SISTER MARY: Thank you.
(She smells it.)
SISTER MARY: Hmm. Do you have something, uh, that smells a little sweeter?
SHOPKEEPER: That would be a special blend. Something custom.
SISTER MARY: It was. It was custom. I remember Carruthers mentioning that he
had to pick up something at a store, something custom-made.
(She smells the second batch.)
SISTER MARY: Hmm. Something a little more floral.
SHOPKEEPER: I got a few.
(He takes the jar back and brings out another. She smells it, a stunned look on
her face.)
SISTER MARY: Excuse me.
(SISTER MARY rushes away. The FEMALE AGENT turns and follows her. JACK walks
up to the TOBACCO SELLER.)
SHOPKEEPER: Can I help you?
JACK: Uh, yes. Could I have some lighter fluid, please?
SHOPKEEPER: Uh-huh.
(The TOBACCO SELLER goes to get the box. JACK picks up a match book from the
container on the counter.)
JACK: Thank you.
CUT TO:
[EXT. MCKENNA AIRFIELD - DAY]
(The dark van screeches along the concrete drive. It makes a turn and stops in
front of the large, gray hangar. The hangar doors open and the van drives in.
The doors close.)
[INT. MCKENNA AIRFIELD - HANGAR - DAY]
(The lights go on.)
BRYCE RADFORD: Secure!
(He turns and opens the van door. MARTIN ZAHN steps out of the van and turns to
help SAM.)
MARTIN ZAHN: Step down, please. You two, stay. Stay put. Mr. Radford, make
sure that Mr. Donner and Mr. Mettzinger stay in the van. (to SAM) You follow
me.
(The phone inside the hangar starts to ring.)
MARTIN ZAHN: Well, it didn't take them any time at all to hot-wire this
switchboard.
(He answers the phone.)
MARTIN ZAHN: Agent Malone.
BAILEY: Is everyone alive?
MARTIN ZAHN: Oh, we're just fine.
BAILEY: We've apprehended the sniper you left on the roof, and none of your men
have been killed. We can still work this out. Let me talk to Dr. Waters.
(MARTIN ZAHN hands the phone to SAM.)
SAM: Bailey?
BAILEY: Sam, you all right?
SAM: Yeah. I'm fine.
(MARTIN ZAHN grabs the phone from SAM.)
MARTIN ZAHN: Sorry we can't chat. You mentioned about working this out? I
think not. Hundreds of thousands have died, and there are hundreds of thousands
more. For that reason, I think you're going to honor my demands within the hour
or this time Dr. Waters is going to die.
(He hangs up.)
MARTIN ZAHN: Are your colleagues willing to sacrifice you rather than promise
not to launch a nuclear pearl harbor?
SAM: Dr. Zahn, you can't destroy lives in order to save them. I mean, isn't
that your whole point?
MARTIN ZAHN: Boy, isn't that just like a psychologist? Answer a question with
a question. Next time, you're going to want to know about my parents.
SAM: Do you understand your own thinking as well as you do mine?
MARTIN ZAHN: That's a good question. I do miss my mother and father. My
brother is the only one left in the family, and I haven't seen him in months.
Just as well.
SAM: Why? Are you ashamed of what you're doing here?
MARTIN ZAHN: Do you know how you were born?
SAM: I'm not exactly sure how you mean that.
MARTIN ZAHN: My mother used to tell this story. I was born in one of the worst
thunderstorms in the history of Illinois. The hospital lost all of its power.
I was delivered in the dark. There was thunder, lightning all over the place.
They say it was very dramatic. And as I took my first breath, my decent, god-
fearing father got down on his knees and prayed to god that the devil not be in
his child.
SAM: So they treated you differently.
MARTIN ZAHN: Oh. All my life. I was, uh, somehow anointed. Big things were
expected of me. And they were always afraid what some of those big things might
be. Well, I found out. I have the devil in me. I have breathed hellfire into
a world that is too fragile to possess it. I have got to undo what I've done.
SAM: Yes, but you can't expect the government to give you what you're asking
for. Why don't you tell me what it is that you truly want, and maybe I can help
you.
MARTIN ZAHN: Don't you mean help you? I mean, you just want to live.
SAM: Yes, I do want to live. But I'd like to see this end peacefully.
MARTIN ZAHN: All I have to do is, uh, trust you, right?
SAM: Just let me get you some help.
(Outside, they hear sirens approach.)
MARTIN ZAHN: It sounds like help is already on the way -- for you.
SAM: And for you, if you'll let us.
MARTIN ZAHN: All right. I'll surrender. But I will surrender only to my
brother ... and only if he will forgive me.
(Outside, the officers gather around the building.)
FADE OUT.
FADE IN.
[INT. VCTF - COMMAND CENTER -- NIGHT
(JOHN is on the radio.)
JOHN: Bailey, I went from the pentagon to the State Department to the National
Security Advisor and then back to the Pentagon. Albert Zahn is in the air.
Once he found out his brother was at a secure location, he agreed to come.
He'll be there by chopper in ten minutes.
[EXT. MCKENNA AIRFIELD - HANGAR - NIGHT]
BAILEY: Great work, John.
COOP: Okay, there are no windows, the roof is aluminum, so we can't go climbing
around without making a racket. But I did get a bug in the ventilation, so
hopefully, we'll be able to listen. The only way to get in is through those
doors, if we have to.
BAILEY: Zahn's brother is on the way.
[INT. MCKENNA AIRFIELD - HANGAR - NIGHT]
SAM: And you said you would surrender to your brother if he forgives you.
Forgives you for what?
MARTIN ZAHN: For contaminating his perfect and ideal world.
SAM: What do you mean his perfect and ideal world?
MARTIN ZAHN: It's pure science. My brother was never bothered with having a
conscience. Scientists don't. He could never understand my weakness for
humanity.
SAM: What? Your brother is living in a fantasy. We all have to deal with the
consequences of what we do, whether it's science or not.
MARTIN ZAHN: I agree with you, and that's why we're here. We happen to be in a
minority.
(In the van, COOP and BAILEY listen.)
MARTIN ZAHN: My brother and Donner and Mettzinger don't think that way.
Sam: Well, your brother works at FissionDyne. It makes sense that he and
Donner think the same way.
MARTIN ZAHN: Yes. They have no conscience. But my brother supposedly left
Donner's company to go and make nuclear weaponry for North Korea and--and Libya
and Iraq. But he did it with Donner's money. And all the time helping Donner
sell technology.
BAILEY: Cute.
COOP: No wonder Albert didn't like getting out in public much.
MARTIN ZAHN: Whenever one of these upstart nuclear wannabes would get close to
actually building a--a working weapon ... they'd step in and blow the whistle.
It kept the nuclear pot boiling, made Donner millions.
SAM: You know, patriotism and capitalism do make strange bedfellows.
MARTIN ZAHN: What are you talking about? They've been sleeping together for a
long time. We've been shooting craps with the future. The problem with this
game is that you can only lose once. I told my brother that once, and he
laughed ... out loud. Then he ... turned against me.
SAM: You didn't kill me when you had the chance. And you weren't going to.
You think that because you dream up weaponry that it makes you a killer, but it
doesn't.
MARTIN ZAHN: No. I learned too late the irreplaceable value of one single
life.
(Quick overlay of a young girl in bed. The picture fades.)
SAM: Your daughter?
MARTIN ZAHN: Yes.
SAM: She died of leukemia, didn't she?
MARTIN ZAHN: I killed her. Not her, really, but others like her. Tell me,
what is the difference?
SAM: I think that her death gave birth to your conscience. Is that when you
went to your brother?
MARTIN ZAHN: I told him, enough. I told him I thought we could turn this thing
around, just the two of us. We could--we could stop this madness. He told me
he thought I was losing my mind.
SAM: No. You weren't losing your mind.
(Quick flashes of: A photo of SAM, her husband and CHLOE; of Sam finding her
husband dead; of the bouquet of roses on SAM'S bed with his wedding ring
attached to it; of the newspaper with the message: SAM, YOU'VE COME BACK TO ME.
End of flashes. Resume to present.)
SAM: Know what it's like to lose somebody. I, uh ... I lost my husband.
MARTIN ZAHN: Oh. Illness? Uh ... accident?
SAM: No. Just a man.
JOHN: Where the hell is she going?
BAILEY: Inside his head.
MARTIN ZAHN: Could you kill him? Could you kill that man? Would you die?
SAM: I would to protect my daughter.
(MARTIN ZAHN gasps and stares at SAM.)
[EXT. McKENNA AIRFIELD - NIGHT]
(The helicopter lands.)
(In the van, COOP and BAILEY hear the helicopter.)
COOP: That's him. Lord, let this be over.
(Back inside the hangar, MARTIN ZAHN continues.)
MARTIN ZAHN: You see, the inescapable or the unthinkable is thinkable ... under
certain circumstances. That's what they told me when I built my bomb.
(Quick flashes of them leaving the PLAZA HOTEL.)
SAM: Is that what's going on here? Because I don't think this has anything to
do with forgiveness. Before we left the hotel, you put only Donner and
Mettzinger by the front door.
MARTIN ZAHN: I wanted them together.
SAM: Yes, yes, I know, to use as a shield to get you to the van. You have
orchestrated an elaborate chess game, and you've played it brilliantly so we'd
wind up here. Now I'd like it very much if you told me why.
MARTIN ZAHN: I just want Albert to forgive me.
SAM: (shakes her head) No. That is inconsistent with everything that you have
said. I would like it if you told me the truth. Just take your time. We all
need more time.
(Thunder rumbles.)
(Inside the van, they hear the phrase they've been waiting for.)
COOP: She said it.
(COOP and BAILEY scramble out of the van.)
(MARTIN ZAHN pulls SAM toward the door.)
MARTIN ZAHN: Radford, line them up. Let's go. Now! Come on. Come on.
(COOP talks through the hand-held speaker.)
COOP: Dr. Zahn! Your brother has arrived! He would like to speak with you!
(He hands the speaker to ALBERT ZAHN.)
ALBERT ZAHN: Martin, this is Albert. Can I come in? I think we should talk.
(There's no response.)
ALBERT ZAHN: Martin!
(He motions to RADFORD.)
MARTIN ZAHN: Open it.
(The hangar doors open.)
MARTIN ZAHN: Albert ... come into the hangar. Please put your hands up.
(ALBERT is helped down from the truck and makes his way toward the hangar
doors.)
MARTIN ZAHN: Albert ... I wish you and I had never been born.
(MARTIN turns the gun toward ALBERT. Just before firing, SAM pushes his arm
upward causing him to misfire. RADFORD turns toward SAM and is suddenly hit
with a powerful stream of water that pushes him backward.)
(The GUNMEN try to reach their firearms, but the water just keeps pushing them
down and pushing the guns away from them.)
(Finally, BAILEY and COOP lead in a group of OFFICERS to the hangar.)
BAILEY: Don't move!
COOP: Stay down!
BAILEY: Don't move!
COOP: Stay down!
BAILEY: Secure the suspects.
COOP: Weapon?
BAILEY: No.
(From the side, SAM gets to her feet. BAILEY sees her.)
BAILEY: Sam!
(He hugs her.)
BAILEY: You all right?
SAM: Yeah.
(She laughs.)
BAILEY: It worked. The old bait and switch.
(The officers help MARTIN ZAHN to his feet.)
MARTIN ZAHN: Dr. Waters? I wasn't going to kill you.
(They lead him out of the hangar. As he leaves, ALBERT ZAHN exits the jeep.
The two men glare at each other as they pass.)
(COOP walks up to SAM.)
SAM: Hi.
COOP: How did you know what he was going to do?
SAM: Remember when I had a chance to kill Jack, and I was tempted, but I
couldn't? Well, he was going to kill his brother and the others. Only I think
he was going to kill himself as well.
BAILEY: Clean sweep.
COOP: How could he think that would help?
BAILEY: I guess he thought it was a start.
(BAILEY touches SAM'S cheek, then leaves. SAM turns to look at COOP. They both
start walking out of the hangar.)
SAM: How's your head.
COOP: It's ringing. I'm there.
SAM: You shouldn't have done that, Coop.
COOP: Well, I couldn't help myself, Sam. I'd do anything for you.
(They stop at the hangar doorway. Outside, it's still pouring.)
SAM: Could you stop the rain?
COOP: (to the mike) Guys, cut the rainmaker.
(SAM laughs.)
VOICE: Turn off the rain shower!
(The rain stops.)
SAM: Thank you!
COOP: Hey, you're welcome.
(They both walk out of the hangar. BAILEY watches them leave.)
(Outside, they pass the emergency personnel as everyone wraps everything up.)
CUT TO:
[INT. JAIL - HOLDING CELL - NIGHT]
(The door opens. FRANCES MALONE is busy biding her time by drawing a celtic
pattern around her wrist with a black pen. BAILEY walks in, FRANCES doesn't
acknowledge him.)
BAILEY: So, uh ... getting comfortable here? Next thing I know, you'll have a
teardrop tattooed next to your ... your eye.
FRANCES MALONE: I already have a tattoo. Want to see it?
BAILEY: (sighs) Probably not. How'd you like to get out?
(She stops drawing.)
FRANCES MALONE: Yeah?
BAILEY: Yeah. I know I haven't been there for you, Frannie. Let's ... give it
another try. You game? I am if you are.
(She smiles. He walks over and sits next to her.)
BAILEY: I want you to come home with me to Atlanta. Will you do that?
(She starts to cry.)
FRANCES MALONE: You came for me.
(They hug.)
BAILEY: My girl. My little girl.
CUT TO:
[EXT. ST. ANGELA'S - NIGHT]
(The door opens and a SISTER finds a burning bouquet of roses hanging upside
down from the roof.)
SISTER: There's a fire!
(Someone ruses out with a fire extinguisher and puts it out.)
[SECOND FLOOR - CONTINUOUS]
(The SISTERS walk up the stairs. Two SISTERS open the door and head off into
another room filled with lit candles.)
(The entire screen view changes into a blue-ish hue probably signifying that
we're watching from JACK'S eyes now.)
[JACK'S POV]
(A lone figure walks to the next door and knocks.)
SISTER MARY: (through door) Come in.
(The door opens and the figure slips inside the room. The door closes behind
them.)
[SISTER MARY'S OFFICE]
(The figure walks over to SISTER MARY where she's working at her desk.)
SISTER MARY: Just let me finish this one little thing. I'll be right with you.
JACK: Take all the time you need, Sister.
(SISTER MARY stops writing, then slowly turns around.)
(Camera zooms into SISTER MARY'S eye.)
CUT TO:
[INT. VCTF - SAM'S OFFICE - NIGHT]
(Humming, SAM pushes her office door opens and walks inside. She heads for her
desk. She puts the portfolio she's carrying on the desk and reaches for her
phone messages. She looks through them and stops at:
SISTER MARY CALLED AT 3:00 PM PLEASE CALL BACK.
(She picks up the phone and dials.)
INTERCUT WITH:
[SISTER MARY'S OFFICE - NIGHT]
(The phone rings.)
(In that same bluish hue, the camera sweeps around the room to show us that
SISTER MARY isn't sitting at her desk anymore. The phone continues to ring.)
(Someone dressed as a SISTER answers the phone.)
SAM: Sister Mary, did I wake you?
JACK: I've been praying for you, Sam.
(On the bed, we see SISTER MARY dead.)
SAM: (shakes her head) No.
JACK: It looks like my prayers have finally been answered. I'll have everyone
out of the way soon, so please be patient with me.
SAM: What have you done? What have you done?
(JACK hangs up.)
(SAM hangs up her phone and rushes out of the office.)
SAM: Bailey. Bailey!
(Meanwhile, back at the Orphanage, JACK places rose petals on SISTER MARY'S
eyes. He tosses the rest of the rose on her chest, then leaves.)
[EXT. ST. ANGELA'S - DRIVEWAY -- NIGHT]
(Police cars drive up the driveway, sirens and lights flashing in the night.
OFFICERS and AGENTS run out of the cars.)
(The scene turns into a blue-ish hue to signify JACK'S presence. As the camera
lingers on the gate to the ORPHANAGE, JACK, dressed as a SISTER, walks out
unnoticed.)
(He takes a few steps out, stops and turns. He puts a cigarette to his lips and
takes a smoke. He tosses the cigarette to the ground, turns and leaves.)
FADE TO BLACK.
==========================
THE END
==========================
[Closed Captioning made possible by court tv. Captioned by the National
Captioning Institute www.Ncicap.Org]
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Contact the Transcriptionist at (intrepidly002@yahoo.com)
Please do not archive this transcript without permission from the
transcriptionist.
==========================
TITLE/OPENING CREDITS
==========================
PROFILER
1X17: CRISIS
ORIGINAL AIR DATE ON NBC: 03/22/1997
TRANSCRIBED FROM DVD
ALLY WALKER as Dr. Samantha "Sam" Waters
ROBERT DAVI as Agent Bailey Malone
JULIAN McMAHON as John Grant
ROMA MAFFIA as Grace Alvarez
MICHAEL WHALEY as Nathan Brubaker
PETER FRECHETTE as George Fraley
ERICA GIMPEL as Angel Brown
CAITLIN WACHS as Chloe Waters
Created by: CYNTHIA SAUNDERS
Executive Producers: IAN SANDER
Executive Producers: KIM MOSES
Special Guest Star
A MARTINEZ as Nick "Coop" Cooper
Guest Stars
ROBERT SAMPSON
HEATHER McCOMB as Frances Malone
PAT CRAWFORD BROWN
WILLIAM BOGERT
MICHAEL SHAMUS WILES
JASON BEHR as the Waiter
JULIE GARFIELD as Sister Mary
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: BOB LOWRY
Directed by: MATT PENN
==========================
END CREDITS
==========================
Sanders/Moses Productions
NBC Studios
NBC Enterprises
Also starring
DON STEWART as Coffin Woodrick
with
ARELL BLANTON as Deputy Durano
MICHAEL NOSTRAND as Shopkeeper
DEE FREEMAN as Agent Margo Klein
BOBBY HARWELL as Albert Zahn
JAMES FRANCES KELLY III as Billy
Story Editor: BOB LOWRY
Story Editor: JEAN GENNIS
Story Editor: PHYLLIS MURPHY
Casting: ANTHONY BARNAO
Director of Photography: MICHAEL BONVILLAIN
Edited by: JON KOSLOWSKY, A.C.E.
Main Title Theme: ANGELO BADALAMENTI
Music by: JEFF RONA
Unit Production Manager: ANTHONY SANTA CROCE
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
Computer Graphics: PAUL LeBLANC
Post Production Supervisor: LYNN STEVENSON
Assistant Editor: J.J. ROGERS
Insert Coordinator: CRAIG FELLER
Playback Supervisor: BOB MORGENROTH
Post Production Coordinator: TINA TRIVAN
Supervising Sound Editor: PETER AUSTIN
Sound Effects Editor: LINDA KEIM
Music Editor: BRIAN RICHARDS
Re-Recording Mixers: MIKE GETLIN / DEAN OKRAND / BILL THIEDERMAN
Main Title: SUZANNE KILEY
Telecine: MACE JOHNSON
Da Vinci: RICK DALBY
Optical Online: MARK INTRAVARTOLO
Autopsy Equipment Provided by SHANDON LIPSHAW
The characters and events depicted in this program are fictional. Any
similarity to actual persons, living or dead, or to any actual events is
coincidental and unintentional.
Executive in Charge of Post Production: JOSEPH DERVIN, JR.
(c) 1997 National Broadcasting Company, Inc. All rights Reserved.
Executive in Charge of Production: JOHANNA PERSONS
==========================
DVD DISCLAIMERS:
==========================
(c) 2003 NBC, Inc. All Rights Reserved. Art and Design (c) 2003 A&E Television
Networks. All Rights Reserved. Marketed and distributed in the U.S. by New
Video. NBC and the Peacock Design are Registered Trademarks of the National
Broadcasting Company, Inc. Profiler, its characters and related Trademarks are
Property of NBC Studios, Inc.
aetv.com
Dated:05/30/2004~lky
http://www.webphilia.com/~anthology/wnp.html