PROFILER 3X08: HOME FOR THE HOMICIDE ORIGINAL AIR DATE: 12/12/1998 TRANSCRIBED FROM DVD Teleplay by: JENNIFER FURLONG Story by: JENNIFER FURLONG & SANFORD GOLDEN Directed by: JEFERY LEVY Transcript by Intrepid Courtesy of http://www.kilohoku.com/ As a courtesy, do not archive this transcript without written permission from the Transcriptionist. ========================== DISCLAIMER: ========================== "PROFILER" and other related entities are owned, (TM) and (c) by Three Putt productions, Sanders/Moses Productions, NBC Studios, NBC Enterprises, and A&E TV, All Rights Reserved. This transcript was made without their permission, approval, authorization or endorsement. For Fair Use, For Educational and For Entertainment Purposes Only. Any reproduction, duplication or distribution of this material in any form is expressly prohibited. It is absolutely forbidden to use it for commercial gain. CONDITION OF USE: (1) Do not alter the content of this file. (2) Leave the headers/disclaimers intact because it lists all those who have made this transcript possible for your enjoyment. (3) Provide a link back to the site where this file originated: http://www.kilohoku.com/ Contact the Transcriptionist at intrepidly002@yahoo.com ========================== SUMMARY: Sam and the team investigate a series of axe murders. Bailey unexpectedly meets his ex-wife. ======================== PROFILER 3X08: HOME FOR THE HOMICIDE ======================== FADE IN: [EXT. TRAVERS RESIDENCE (STOCK) – NIGHT] CAPTION: TILDEN, GEORGIA (It’s dark outside and the Christmas lights decorating the house are on.) GINNY: (v.o.) Ben, I really have to go. WHITE FLASH TO: [INT. TRAVERS’ RESIDENCE – NIGHT] (Ben Travers and Ginny talk.) GINNY: You know AJ gets really agitated if his breakfast ain’t on the table at six o’clock. BEN TRAVERS: I don’t want to hear about AJ. You’ve got to break free so we can be together. I'll sell this place. We can move to California or wherever you want, but you got to break free. Ginny, if you don't tell him, I will. (She looks at him and sees that he’s serious about this.) GINNY: I'll tell him ... after ...the holidays. (She leans forward and kisses him.) (She gets off the bed, gets her things and heads out. Lightning flashes outside and thunder rumbles in the distance.) (Bed gets up and grabs his shirt off the hook. He puts it on and starts to get dressed.) (Behind him, someone enters the cabin. Ben has his back to the door and can hear the approaching footsteps on the wooden floors.) (Ben smiles.) BEN TRAVERS: I guess AJ's breakfast can wait. (There’s a FLASH of an AXE BLADE pulled upward. Ben turns around and sees the ax.) BEN TRAVERS: Gin! (The killer strikes and the ax falls on Ben Travers.) FLASH TO WHITE END OF TEASER ROLL TITLE CREDITS FADE IN: [INT. SUPERMARKET -- DAY] (Bailey is pushing a shopping cart along the produce aisle. He’s eating an apple as he does his marketing. He grabs a box of lights off the top of the fruit displays. He puts it in his cart, then grabs another box and reaches for one of the small, fake trees.) (A little boy eating a candy cane walks up to him.) MARK: That's a pretty small tree. BAILEY: Yeah, you're right. It is small, but it's very symmetrical. (The boy has no clue what Bailey means.) You don't know what that means, do you? You're not here by yourself, are you? MARK: None of your beeswax. (The boy continues on his way.) BAILEY: Yeah, well ... Merry Christmas. MARK: Whatever. (Bailey continues on his way.) (He stops when he sees two older kids kissing passionately under a sprig of mistletoe.) JANET: (o.s.) Okay, now you can't just walk away from me. Come on. Hold my hand. (Bailey stops. The voice sounds so familiar.) MARK: (o.s.) I don't have to. You're not my mother. JANET: (o.s.) But I'm responsible for you. Come on. We'll be out of here in a minute, and then we'll go put up the lights. Okay? Come on. (He turns around. It’s Janet. She takes the little boy’s hand, then turns and sees him.) JANET: Bailey. (He smiles at her.) BAILEY: What are you ... uh ... what are you doing in Atlanta? JANET: Umm ... BAILEY: Are the girls with you? JANET: Frances is skiing in Vermont. Arianna's with my mother. BAILEY: So ... uh ... what are you doing here? JANET: I'm spending Christmas with a friend. Mark, this is Mr. Malone. BAILEY: We met. So who is she? Do I know her? JANET: I don't think so. BAILEY: Maybe we can get together. I mean, all of us. (to Mark) And I'll get a bigger tree. (Janet’s friend returns. He puts his arm around her.) DANIEL WELLER: Sorry I took so long. They're overwhelmed. You ready to go, hon? Hi. I'm Daniel Weller. (He introduces himself.) MARK: Can we just go? BAILEY: Bailey Malone. (Bailey’s pager starts beeping.) JANET: Sorry. DANIEL WELLER: They never give you a break, do they? (Bailey checks his pager.) BAILEY: It's my busy season. MARK: (whines) Come on. JANET: Bailey, we've got to be, um -- yeah, me, too. DANIEL WELLER: (to Bailey) Merry Christmas. BAILEY: Merry Christmas. DANIEL WELLER: (to Janet) We'll wait for you in front, okay? JANET: Okay. (Daniel and Mark leave.) BAILEY: You look great, Janet. JANET: (chuckles) Must be the fluorescents. BAILEY: You know, in all the time we were married, you could never take a compliment. JANET: Bailey, I gotta ... BAILEY: Yeah? JANET: Merry Christmas. (Bailey nods. Janet leaves.) CUT TO: [EXT. TRAVERS’ HOUSE (STOCK) -- DAY] CAPTION: TILDEN, GEORGIA [INT. TRAVERS’ HOUSE – BEDROOM -- DAY] (Grace is looking over Ben Travers’ dead body. John stands in the room behind her watching her work.) JOHN: That's a record. Four days before Christmas, and my shopping's done. This year, I got smart. You know how it's always hard to find the right gift for those special women in your life. GRACE: Believe me, I'm up nights. JOHN: A buddy of mine sells these really cool sports watches. Gave me a deal 'cause I bought six. GRACE: You got the same gift for six women? JOHN: They’ll never know. I wrote individual cards. (John looks at his reflection in the mirror.) GRACE: Well, there's a nice touch. JOHN: Now all I gotta do is figure out which one of the six I'm taking to Sam's Christmas party. [INT. TRAVERS’ HOUSE -- HALLWAY / LIVING ROOM – DAY] (The sheriff walks Sam and Bailey through the hallway.) SHERIFF: Excuse me. Seems like I always come down sick at the holidays. I wonder if that means something. (The sheriff blows his nose. Bailey and Sam spread out and look around the living room.) BAILEY: Give us your assessment, Sheriff. SHERIFF: Well, the first murder happened two years ago. Then there were two more last year, all within a week of Christmas and all killed with an ax. Now, we believe they were taken out by a jealous boyfriend or husband. SAM: Uh, why? SHERIFF: Well, just a process of elimination. I mean, no robbery motive, and they weren't feuding with anybody. And obviously old Ben here was engaged in some intimate activity right before he was killed. (Bailey’s phone rings. He answers it.) BAILEY: (to phone) Malone. SHERIFF: Would you excuse me? SAM: Yeah. BAILEY: (to phone) Uh, no. I don't want that call. Take a message. (Bailey hangs up. Sam looks at Bailey.) BAILEY: What? SAM: You ‘what.’ You didn't say a word the whole drive up here, and you didn't look at the case file. I mean, what is it? I haven't seen you this upset since your bartender took early retirement. (Bailey smiles and nods.) BAILEY: I ran into Janet. She's in town visiting a ... friend. And his Beemer and his Rolex and ... Merry Christmas. [INT. TRAVERS’ HOUSE -- BEDROOM – CONTINUOUS] GRACE: Fixed lividity, rigor resolving. I put the time of death between 5 and 6 AM. (John puts something in a Ziploc bag.) JOHN: No forced entry here. What about the others? DEPUTY: Ben here was the only one who was killed in his residence. JOHN: Thanks. (John heads out of the room.) [INT. TRAVERS’ HOUSE – LIVING ROOM – CONTINUOUS] (Bailey continues talking with Sam.) BAILEY: So there I was with that little dwarf tree in my cart. All I kept thinking was ... SAM: ... why'd she have to see you with that tree? BAILEY: Yeah. (nods) Yeah. (Sam nods. She understands.) (John walks out and joins them.) JOHN: (reads from notebook) At 3:17 yesterday, Ben purchased a quaint little $4.00 zinfandel from Brophy's liquor store. (Sam looks at him and doesn’t say anything. John sees the look and promptly heads out.) JOHN: I'm on my way. SAM: Yeah. I'm gonna check on the bedroom. BAILEY: Yeah. (Sam heads out of the living room.) [INT. TRAVERS’ HOUSE -- BEDROOM – CONTINUOUS] (Grace gives her report. Sam looks at the body.) GRACE: Usually an ax wound is ragged. This one's clean like a scalpel. SAM: All the victims had a piece of their clothing cut out. Grace, can you tell what he used? GRACE: I'd say a small scissors, blade about 3 inches. SAM: You know, he could've shot this guy at a distance, so punishing his victims is more important than his own safety. GRACE: Some guys just have to make a statement. SAM: Well, he's a planner. He's able to compartmentalize his anger. He kills with gross acts of violence, but brings along a pair of scissors he knows he'll need. GRACE: Edges are chewed up. Looks like he had to saw through it. SAM: Ax was sharp, but the scissors aren't? GRACE: Mm-hmm. SAM: That's odd, isn't it? CUT TO: [EXT. CIGARS & LIQUOR STORE (STOCK) – DAY] (Establish.) JULIE: (v.o.) It depresses me to think about people dying at Christmas. This is the time of year to realize how blessed we are. [INT. BROPHY'S CIGARS & LIQUOR STORE – DAY] (John talks with Julie, a buxom brunette dressed in a low-cut red Santa’s outfit with white furry trim. She levels John a sultry look.) JOHN: I certainly do. (She drinks from a snowman mug. John waits for her.) JULIE: My Christmas bonus -- Al's too cheap to give us cash. JOHN: You say you were off yesterday. (Julie nods.) Was that camera working? JULIE: I guess so. (She drinks again.) JOHN: So, where's the video equipment? JULIE: That's a great suit. JOHN: (smiles) I got it for the holidays. (She looks at him. He clears his throat.) JOHN: Now, can I please see the video equipment? CUT TO: [INT. BROPHY'S CIGARS & LIQUOR STORE – BACKROOM -- DAY] (John is reviewing the videotape.) JOHN: That's Ben Travers. So, did you get all your shopping done? (Julie locks the backroom door and tucks the keys in her cleavage.) JULIE: I always wait till the last minute. I'm compulsive that way. CUT TO: [INT. VCTF – COMMAND CENTER -- DAY (The team meets at the table. On the monitor, George has put up the swatches taken from victims.) GEORGE: I thought maybe the pieces cut from the victims' clothing might form, I don't know, some kind of puzzle. And if they do, it's still a puzzle. BAILEY: I think it's a guy who shows great restraint. GEORGE: I don't want to be around when he's pissed. BAILEY: He's able to keep his anger with his wife in check all year. Probably seems perfectly normal. Any commonality between the victims? GEORGE: Oh, yeah. We're chock-full of it -- a teacher, an Army recruiter, a feed store employee, and now a farmer. They all lived in Tilden. They went to the same high school and one of three churches. I mean, there's so much commonality, it may cease to be an asset. SAM: I understand killers taking trophies, but pieces of cloth? I mean, that almost seems like a woman. BAILEY: The ax weighed between 10 and 12 pounds. Hard for a woman to handle. SAM: Yeah, but the cloth itself, it's so ... colorful, so pretty. It could evoke strong emotion. It probably isn't a woman, although a woman could play a pivotal role in the killer's life, maybe even a dominant one. BAILEY: Pieces of cloth are easier to handle than heads or hands. Hell of a lot easier to steal. They could be hidden without fear of detection. INSERT: FLASHES -- A red thread being threaded through the eye of a needle. SAM: Maybe he doesn't want to hide them. Maybe he wants to display them sewn together like some sort of victory banner or flag. GEORGE: Maybe he's a tailor. BAILEY: Tilden's an off-the-rack kind of town, Georgie. SAM: No. If he was a tailor, he would've used shears instead of a small pair of scissors, and they would have been sharp. Well, one thing is, we're certain he knows how to use an ax, so maybe he uses it in his line of work -- firewood business, construction. BAILEY: Start there. CUT TO: [INT. BROPHY'S CIGARS & LIQUOR STORE – BACKROOM -- DAY] (John looks at the outside security video. On it, Ben Travers gets into the car.) JOHN: Travers had a girl with him. With a little luck, we might get an ID. All right, this is perfect. Thanks for your help. We'll get this back to you as soon as we can. (John takes the tape out of the videotape machine and heads for the door.) JOHN: Oh, and Merry Christmas. (John tries the door and finds it locked.) JOHN: Hey, Julie, this door's -- ow! (Julie slams John back against the door. She kisses him.) JULIE: I want you to know that I support the government wholeheartedly. JOHN: And we in the government are here to service the needs of the people. (They kiss again.) JOHN: What is it? JULIE: I think I'm gonna be ... JOHN: Julie, don't. [ON EMPLOYEES ONLY DOOR] (Through the door, we hear Julie throw up.) JOHN: Oh, no! My suit! CUT TO: [EXT. VCTF (STOCK) – NIGHT] CAPTION: ATLANTA, GEORGIA VCTF HEADQUARTERS SAM: (v.o.) Violence at Christmas is about family. [INT. VCTF – BAILEY’S OFFICE – NIGHT] (Sam talks with Bailey. SAM: He's killing the men that he sees as a threat. BAILEY: Well, if she slept with four different guys, I'd say the problem lies a lot closer to home. SAM: Yeah. Well, he probably can't see it that way. The threat has to be external, or it would destroy his image of the family unit. BAILEY: I'll be glad when this Christmas is over. SAM: Tell you what. Why don't you tell me what's going on? (Sam sits down.) BAILEY: Didn't you say you were trying to reach your dad, have him home for the holidays? SAM: Yeah. I left four messages. No responses. Typical. You know, Paul is coming over to help me trim the tree. It's the first time that he's going to meet Chloe. BAILEY: Nervous? SAM: Yeah. (laughs) Why don't you join us? You can help me break the ice. BAILEY: The only ice I'll be breaking is in a glass of Jameson's. You'll be fine. (He picks up a crime scene photo.) BAILEY: Goodwill to men. I love the concept. CUT TO: [INT. GINNY’S HOME – NIGHT] (Ginny is quiet as she hand-stitches the cut piece of Ben’s shirt on the quilt she’s making.) CUT TO: [EXT. NEAR TRAIN TRACKS – NIGHT] (The train whistle blows. A man is out in the night. He appears to be homeless and drinks from a bottle in a paper bag. He coughs as he makes his way through the alley.) (A cat screeches and there’s a metal clatter. The man looks around. It’s very dark. He continues on his way.) (He steps over the abandoned furniture and other junk. He staggers and bumps into an old refrigerator. The door opens. Inside is a dead body.) FADE OUT. FADE IN: [INT. VCTF – COMMAND CENTER -- NIGHT] (John fills everyone in on the latest victim found. Sam isn’t there yet.) JOHN: The latest victim is Michael Gagnon, a sales rep. Arrived in town last Wednesday. Wasn't reported missing until today. (John sits down in the seat next to Grace.) GRACE: Well, that syncs up. The state of decom puts the time of death at about six days. The cause of death, the same. Identical trauma from the same exact ax. Another piece of clothing was cut away, this one from the pants. BAILEY: Who found the body? JOHN: A guy who can't remember his own name. (John opens a present.) JOHN: Hey, it's from Karen. I gave her that sports watch, and I get ... (He opens it.) JOHN: ... nose hair clippers. (Grace smiles.) GRACE: It's the thought that counts, baby. GEORGE: On the security camera tape, I've isolated the frame with the strongest image, strongest being a relative term, but I can't get a decent image of that woman, and it's only getting worse. BAILEY: Keep it going. (Sam walks in and takes the seat next to Bailey.) BAILEY: We got a routine on Gagnon? JOHN: He comes into town twice a week on business. Plenty of time to have an affair with the killer's wife. GRACE: If she's sleeping with this many people, you would think that someone would know about it. SAM: Not necessarily. The sexual encounters only have to be real in the killer's mind. BAILEY: They were real enough for Ben Travers. SAM: Yeah, well, the killer knew about the affair with Ben Travers. It could be that the pain and paranoia of that affair caused him to go into a delusional state where now anyone who even looks at his wife the wrong way is guilty of a perceived infidelity. (The phone rings. Bailey answers it.) BAILEY: (to phone) Malone. (pause) Where? (pause) I'll be right there. (Bailey hangs up. He looks a little disoriented as he stands up and gathers his things. BAILEY: Just keep it going. SAM: Uh-huh. (Bailey leaves. Sam looks at the crime scene photo of Ben Travers with the patch of material cut out of his shirt.) INSERT: FLASH – A woman sews the material together.) SAM: The scissors. Could they have been children's scissors? GRACE: It could've been, but no kid did that. SAM: No, no, but it could be that he's being driven by memories of his childhood. I mean, Christmas may mean the reopening of old wounds, something that happened to him as a child. The murders started, what, two years ago, right? George, can we come up with a list of all the domestic tragedies that occurred in Tilden on our around Christmas? And that means homicide, suicides, home invasion, things like that. Let's go start two years ago and go back as far as we can. (George gets to work on the computer.) CUT TO: [INT. VCTF -- BAILEY’S OFFICE – CONTINUOUS] (Bailey walks in and finds Janet waiting for him. BAILEY: Janet. (He closes the door.) JANET: Hope you don't mind my coming here like this. BAILEY: Not at all. You're here to tell me what you couldn't the other day. You have that look on your face, the one you always had when something was bothering you, but it took you three days to get it out. (Bailey takes his jacket off.) JANET: Nothing's bothering me. BAILEY: Hmm. Want some coffee? (Bailey turns to get a cup. Janet sits down.) JANET: (blurts) I'm marrying Daniel. (Bailey looks at her, finishes pouring the coffee, then sits down.) BAILEY: The guy from the store the other day. The short guy. Well, he seemed like a ... that's great, that's great. Seriously, I think it's great. Just ... just great. (He puts his cup down.) JANET: You just said "great" four times. BAILEY: How do the girls feel about it? JANET: They think he's terrific. BAILEY: Great. JANET: Five. (She chuckles.) BAILEY: So when's the big day? JANET: Sometime during the spring. We really haven't decided yet. BAILEY: Springtime. That's ... (He stops himself from saying ‘great.’) I appreciate you telling me to my face. JANET: I didn't want you to find out from the girls or hear it from someone else. What? BAILEY: Don't do it. He's all wrong for you. JANET: You met him for three seconds. BAILEY: I read people. I'm in the people business. You're making a big mistake. JANET: It's not my first. BAILEY: Oh, thanks a lot. JANET: I didn't mean you, and I didn't come here for your permission. BAILEY: What did you come here for? JANET: You are the father of my children. I thought you deserved to know. BAILEY: You thought I deserved to know. Now? There must have been a better time to tell me. You could've waited for Christmas Eve. You could've wrapped it up in a nice big bow and put it under my nice little tree. JANET: You know what? This is perfect! BAILEY: Or you could've told me at Thanksgiving! (The two continue to shout at each other.) [INT. VCTF – COMMAND CENTER -- CONTINUOUS] (Sam continues to talk about the case, but the others are distracted by the yelling coming from Bailey’s office.) SAM: He doesn't kill at any other time of the year, so it could be that some sort of family trauma happened at Christmas ... and whatever it was, that provided the stressor ... BAILEY: (o.s.) Your timing stinks, Janet! You tell me this now?! [INT. VCTF -- BAILEY’S OFFICE – CONTINUOUS] (The argument continues.) BAILEY: Vintage you! JANET: This argument, it is right out of your greatest hits! [INT. VCTF – COMMAND CENTER -- CONTINUOUS] (George tries to fill in the lull.) GEORGE: What I was thinking I might do – (John wants to hear the argument.) JOHN: Shh-shh-shh! JANET: (o.s.) Can't we ever just forgive each other and move on? [INT. VCTF -- BAILEY’S OFFICE – CONTINUOUS] BAILEY: Who says we haven't? JANET: What we're doing right here says we haven't. JANET: Bailey, you know, I thought that maybe, just maybe, we could salvage a little bit of dignity out of this. BAILEY: (he chuckles) We have. Very little. JANET: Well, I just thought that you should know. BAILEY: Fine. JANET: Good. BAILEY: Great. JANET: Take care of yourself, Bailey. (Janet picks up her bag and heads out of the office.) [INT. VCTF – COMMAND CENTER -- CONTINUOUS] (Sam continues.) SAM: This ... um ... person ... is suffering from arrested development ... uh ... angry at the world, his family, wife, whatever. (Bailey returns and takes his seat. Everyone is quiet.) BAILEY: So ... where were we? CUT TO: [INT. VCTF -- BAILEY’S OFFICE – LATER] (Sam is surprised.) SAM: What? (Bailey is talking with her.) BAILEY: I knew at some point she'd get married. I'm surprised it's taken this long. She's a great woman. She ... why shouldn't she be happy? SAM: No reason. BAILEY: None at all. She raised the girls essentially alone. She deserves to be with someone who'll take care of her, I mean, be there for her. I don't know why the idea of it drives me ... (sighs) Damn holidays, you know? SAM: Bailey, come and trim the tree with us, okay? BAILEY: Tree trimming's a family thing, Sam. SAM: I know. BAILEY: (shakes his head) Thanks. SAM: I'm gonna keep trying. You know that, don't you? (Bailey smiles at her.) CUT TO: [INT. GINNY’S HOME -- DAY] (Ginny writes in her diary. Outside the regular thumping of wood being cut is heard.) [EXT. OUTSIDE] (AJ chops wood. He takes a break and finishes his can of beer. He heads for the house. The roof of the porch is completely missing – there are various pieces of furniture and other junk outside.) [INT. GINNY’S HOME – CONTINUOUS] (He enters the house. Ginny closes her composition tablet and tucks it under her quilting ring.) A.J.: It's getting late. How come I don't smell supper? (She’s been crying.) GINNY: (sniffles) Sorry, A.J. I'm just running a little behind. A.J.: Well, get your little behind in there and get supper going. GINNY: Okay. Just let me finish this stitch. (She sniffles and dabs at her eyes. AJ rips a card in half.) A.J.: All this Christmas card crap. (He turns and sees her crying.) A.J.: You gotta stop cryin', Ginny. (He goes over to her.) A.J.: Okay ... I know what was going on between you and Ben Travers. (She looks at him.) A.J.: Yeah. I've known all along, sweet pea. He was ... trying to take you away from us. As far as I'm concerned, you know, whoever killed him, doing us both a favor. And you know, if anybody come around asking questions, you know, like cops or anybody like that ... you just ... you just button up about you and him. (She nods.) We had a passin' acquaintance with Mr. Ben Travers. Nothin' more. CUT TO: [INT. VCTF – COMMAND CENTER] (George continues to work on ID’ing the woman in the video.) GEORGE: Okay, like I said, it's getting worse, and the pixilation is totally degraded. Oh, by the way, there are no suicides on record until entering the month of December for the past forty years. Sixteen unattended deaths. One murder. Guy killed his brother over a football game. The brother's still in prison, and the family moved to Michigan. BAILEY: Maybe it didn't happen in Tilden. Maybe the killer's not even in Tilden. George, run a check within a 100-mile radius? GEORGE: So we're agreed that this is useless? BAILEY: Seems to be. SAM: Wait, George. Stop it right there. There's someone behind that tree. Is he watching them? (George zooms in on the man in the background.) SAM: Look at the way he's wearing his baseball cap. He has it on backwards. Younger guys do that, right? All of the victims have been older men in their 40s or 50s. They could be father figures to him or his wife. BAILEY: Source of emotional or financial support to his wife, which could make him jealous. SAM: Or they could represent his own father, a father who abused him, who caused him pain. Maybe now he's thrust into the role of an adult with responsibilities he isn't ready to handle. CUT TO: [INT. GINNY’S HOME – NIGHT] (AJ is out in the hall. He stands in darkness.) (Ginny comes down the stairs and puts her basket down. She rushes over to Will, who is decorating a small tree complete with lights and tinsel.) GINNY: Will, honey. You know AJ don't want nothin' Christmas in this house. WILL: It's just a little tree. (Ginny sighs sadly.) (AJ steps in through the open doors.) WILL: Remember when you and me and AJ., we was kids, and Mama and Daddy used to trim the tree up for the neighbors 'cause they was poor? I remember that like it was yesterday. GINNY: I'm glad, sweetie. I'm glad. AJ: What's that tree doing here? (They turn and see AJ standing in the doorway.) GINNY: Oh, A.J. It ain't hurting nothin'. AJ: I said no Christmas. WILL: It's the tiniest tree I could find, AJ. AJ: (softly) Having a dead tree in the house is a stupid thing. Needles all over the place. A fire hazard. That what you two want, for this place to go up in flames? (shouts) THEN WHAT?! (softly again) I'll be lookin' for a new place. Be up to me to find it and pay for it. Be up to me all over again. (Ginny glares at AJ. He turns and leaves the room.) (AJ takes his beer can and heads out through the hallway.) WILL: Wish he wouldn't drink so much. GINNY: I wish he would've gone off and joined the Army like he said he was gonna do. Damn, I wish he would've. (Then, they hear the thumping of AJ outside chopping wood. The sound grates on Ginny, making her jump.) (The sound scares Will as well. He puts his head down. Ginny soothes him.) GINNY: Shh... shh ... CUT TO: [EXT. GINNY’S HOUSE – NIGHT] (AJ is outside cutting wood violently.) FADE OUT. FADE IN: [EXT. SIDEWALK -- DAY] (Sam and Chloe walk down the sidewalk after shopping. Sam is carrying some shopping bags.) SAM: Do you like the new ornaments? CHLOE: Yeah. SAM: Which one's your favorite? CHLOE: They're all good. SAM: You know, I bet you could be less enthusiastic if you put your mind to it. CHLOE: You said Grandpa might be coming. SAM: Oh, no. I ... uh ... I heard from his office, Chlo. He's at some conference in New Zealand. CHLOE: Doesn't he want to be with us? SAM: Yeah, he does. He's just, you know, really busy. CHLOE: I'm glad Angel is gonna be with her family this year, but, well, why can't we trim the tree with someone we know, like Bailey or someone? SAM: It's bothering you that Paul's coming over to trim the tree, isn't it? CHLOE: No ... but don't worry. I can go over to Stacy's and help trim her tree so you can be alone. SAM: Chloe. Look, I really like Paul, and I think that you could, too, but this holiday is about us, so you know what? I'm gonna tell him not to come, all right? CHLOE: You'd do that? SAM: Yeah. CHLOE: (sighs) Don't. We need somebody tall, anyway. SAM: Come on. CUT TO: [EXT. – DAY] (Barbara Somerset talks with Ginny. She’s looking at Ginny’s finished quilt.) BARBARA SOMERSET: Honey, I've never seen stitching like this in my life. GINNY: Thank you, ma'am. I'm making a special one for Will for Christmas. It's a surprise. BARBARA SOMERSET: Talent like yours ... what I'm saying is there's money to be made. In Chicago, this would get you $1,500. GINNY: Really? BARBARA SOMERSET: You set yourself up in business there, no telling how much you could make. I know people who'd help you. GINNY: (shakes her head) Uh ... Chicago ... (AJ pulls up in the truck and parks. He sees Ginny talking with Barbara Somerset.) ) BARBARA SOMERSET: There's nothing for you in a place like this. I got a friend owns a store on Michigan Avenue. After the holidays, why don't we drive on up and see her? (AJ honks the horn loudly.) GINNY: I'm--I'm awful sorry. (Ginny heads for the truck.) BARBARA SOMERSET: Think about it. (Ginny gets in and closes the door. AJ is quiet.) GINNY: What? A.J.: What did that big mouth want? GINNY: Oh, nothing. She's-- AJ: I been sitting here for five minutes, Ginny. She must've been saying something. Hmm? What was it? What was it? GINNY: She said I could sell my quilts in Chicago for maybe 1,500 per. She said if I was to go up there and go into business, there is no telling -- AJ: (interrupts) Ginny, you can't leave us. I know I'm not the, uh ... easiest to ... I've done more than a few things ... that I regret ... but I've been trying awful hard to keep things together since Mama and Daddy died. I been trying. GINNY: I know, AJ, I know. AJ: But I can't do it without you. Will is, uh... well, he's ... he loves you more than anything. And I love you. We'd just fall apart without you. CUT TO: [INT. SAM’S HOME -- NIGHT] (Sam is looking at the crime scene photo of Ben Travers with his shirt cut out.) INSERT: FLASHES OF – The finished quilt with the material made from Ben Travers’s shirt. The ax blade falls. The material rips. (Sam sighs.) CUT TO: [INT. VCTF – COMMAND CENTER] (John is holding another nose hair clippers.) JOHN: How the hell could they have all found out? Six women, six nose hair clippers. (George is working at the computer.) GEORGE: I could be wrong, but I think they're sending you a message, and it's got nothing to do with your nose. (Bailey chuckles.) GEORGE: Bailey, no crimes within 100-mile radius of Tilden that send up a red flag. (Sam joins them.) SAM: Bailey, what if there is no wife? What if this isn't about sexual jealousy at all ... but about keeping a family together at Christmas? I mean, the pieces of cloth could represent the members of the family, and sewing them together, literally, into some sort of blanket or quilt could symbolize to the killer that his family is together. BAILEY: There's no unfaithful wife to threaten that stability. SAM: A threat to the family could come from within the family itself. Could be a brother or a sister. BAILEY: Then they'd be at just as much risk as the other victims. SAM: More. Emotions run higher. And they would be easier to get to. CUT TO: [INT. GINNY’S HOME – NIGHT] (AJ is teaching Will how to drink beer.) AJ: When you pop the top, you gotta start chuggin' on it. (Will opens the can upside down and starts drinking quickly. Ginny walks in and sees them.) GINNY: Oh! AJ, don't you be teaching him that. (Will belches loudly.) AJ: What's a brother for? (Ginny takes the empty can from him.) WILL: Come on ... let's do another one. GINNY: No, no! Now, that is enough of that. AJ: If the boy is gonna drown, there's worse things he could drown in. GINNY: You sound just like Daddy when you say that. AJ: Meaning what, exactly? (Ginny stops. She knows she’s gone too far. Everyone is quiet. Even Will.) GINNY: Meaning nothing, A.J. AJ: Well, you said I sounded just like Daddy when I said that, sweet pea. So you must've been meaning something. GINNY: Hon-honest, I didn't. AJ: How long you been in the habit of saying things you don't mean, Ginny? GINNY: I was just making an observation. AJ: If I wanted observations, (shouts) I'D GO UP TO LOOKOUT POINT! WILL: Come on. She didn't mean anything. AJ: Shut up. I was talking to her. I got one moron doesn't know how to chug a beer, and another one that did say what she means! (He grabs Ginny from behind and pulls her outside.) GINNY: (screams) No! No! No! AJ: Come on, now, say it! Say what you mean! GINNY: (screaming) AJ, No! No! No! NoAJ! (Will looks like he’s going to cry. He stays put on the couch.) AJ: Say it now! Say what you mean! GINNY: (screams) No! No! (He pulls her toward the electric sander and turns it on. He presses a metal bar into it, creating sparks.) AJ: Now listen, you wanna make quilts? How you gonna do that with five stubs, huh? How you gonna do that, huh? Come here. Come here now. (He turns off the machine and pushes her back into the house.) AJ: Sit there and shut up. (Ginny sits on the couch and cries. AJ is quiet for a moment.) AJ: Now, y'all know I don't ... I don't sound anything like Daddy. I mean, I'm noth -- I'm nothing like the man. But if you ever say that again, sweet pea, I ... it'll be the last thing you ever say. CUT TO: [INT. SAM’S HOUSE -- NIGHT] (Sam and Paul clink wine glasses.) SAM: Merry Christmas. PAUL: Merry Christmas. (Paul sips from his glass. Sam drinks a little more. She looks down and sees something.) SAM: Oh, I forgot to wrap this ... this diary for-- (She bends down to pick it up. Paul reaches over to put an ornament on the tree. They bump.) SAM: Oop. PAUL: Whoop. Jeez. (Paul’s wine spills on his chest.) SAM: I'm sorry. I mean – I'm sorry. PAUL: It's all right. By the way, I'm sorry I didn't, you know, I didn't realize it was a dressy thing. SAM: No, no. I just ... uh ... PAUL: Just threw that on? SAM: Yeah. (They chuckle.) SAM: Yeah. PAUL: I'm glad. It—it ... you look great. (They lean forward to kiss. It’s awkward. Sam turns her head the other way and they try to kiss again.) SAM: I'm sorry. (A loud clunking sound comes from upstairs. They pull apart.) (Paul clears his throat.) SAM: Um ... PAUL: I'm sorry. Is it, uh ... it's not a problem me being here, I mean, you know, for Chloe? SAM: No. No, no. Not at all. Why? PAUL: It's just been about an hour, and I hadn't seen her. What, she out of town or something? SAM: (chuckles) No. She's ... uh ... she's upstairs. She's--she's going to this tree-trimming party across the street, so I'm gonna wrap this. (Sam puts the diary on the table to wrap.) PAUL: You got her a diary, huh? I thought kids just used computers these days. (Sam wraps the diary in a piece of paper that’s much too small for the book.) SAM: Oh. Well, you know ... when I was a kid, I used to love crawling under the covers with my flashlight ... and my diary. PAUL: So ... I don't know. Maybe it's just the ... uh ... lawyer in me, but I would never want to leave potentially incriminating evidence like that just lying around. (She finishes and finds a strip of the diary exposed.) SAM: Well, that's why they come with locks. (She’s at a loss at how to fix it. Paul picks up a prepared bow and puts it right in the center of the exposed strip, covering it somewhat.) SAM: Thank you. (Paul chuckles.) CUT TO: [EXT. WOODS – NIGHT] (A sheet-covered body is on the ground. Three officer cars are parked nearby and a group of officers head toward the body. SHERIFF: Merry Christmas, boys. DEPUTY: Merry Christmas, Sheriff. SHERIFF: Oh...what do we know? DEPUTY: One ax wound in the back. Almost came clear through. (The sheriff kneels down.) DEPUTY: Same as the others. (The sheriff lifts the sheet to look at the body.) SHERIFF: There's one significantly different detail, however. This victim's a female. DEPUTY: Sorry, Sheriff. Thought you'd been told. SHERIFF: No. No, I had not. (The sheriff sneezes.) CUT TO: [EXT./INT. GINNY’S HOME -- NIGHT] (AJ is outside cutting wood. He finishes, picks up the ax and heads inside.) (He turns the sharpener on and uses it to sharpen the ax blade.) [INT. SAM’S HOUSE – NIGHT] (Sam and Paul take their cups of coffee and sit on the sofa.) PAUL: So, um ... SAM: I-- (They chuckle.) SAM: Uh, go ahead. PAUL: All right. Look, Sam, this is ... uh ... I ... There's only so much tension I can take, so ... uh ... (He turns to kiss her just as Sam reaches behind her to adjust the pillows.) SAM: Sorry. PAUL: Look, I swear, it's not ... gonna hurt if you just ... SAM: Okay. Uh ... uh ... PAUL: Sit still. SAM: Okay. (They kiss.) (Sam slips off the couch and falls on the floor.) SAM: Oh! PAUL: Are you okay? SAM: Oh ... (They laugh. Sam gets up and sits back on the couch.) SAM: Oh ... I'm fine. I'm fine. I'm sorry. Ohhh ... I can't believe I did that. PAUL: Sam. SAM: What? PAUL: Sam. SAM: Mm-hmm? (They kiss.) DISSOLVE TO: [INT. VCTF -- BAILEY’S OFFICE – NIGHT] (Bailey sits at his desk. He picks up the phone, then hangs up. He looks at his small Christmas tree and turns the lights on.) CUT TO: [EXT. WOODS – NIGHT] (The sheriff lifts the sheet for Sam and Bailey.) SHERIFF: Barbara Somerset. Widowed eight years ago. BAILEY: Was she involved with anyone? Someone who would've been jealous enough to kill her? SHERIFF: Lived quietly, as far as we can tell. Didn't have so much as a date once her husband died. SAM: She have children? SHERIFF: No. This doesn't make any sense. Why would he target her? (Sam looks at the body and notices the patch of material missing.) CUT TO: [INT. GINNY’S HOME – NIGHT] (Someone puts a new piece of material in Ginny’s sewing basket.) (Pull up and we see that it’s Will.) FADE OUT. FADE IN: [EXT. VCTF HEADQUARTERS (STOCK) – NIGHT] CAPTION: ATLANTA, GEORGIA VCTF HEADQUARTERS (Establish.) [INT. VCTF -- BAILEY’S OFFICE – NIGHT] (Bailey sits at the table writing out nametags for his wrapped presents.) JANET: (o.s.) Hi. (Bailey looks up and sees Janet in the doorway with an agent.) BAILEY: It's okay, Frank. Thanks. (Frank leaves.) (Bailey shows her the presents.) BAILEY: For the girls. I kept forgetting to take them to the post office. JANET: I can see that they get them. BAILEY: You don't have to. JANET: Bailey, I feel badly about what ha— BAILEY: I'm sorry about the other day. (They both chuckle.) BAILEY: We were always a couple of heavyweights when it came to arguing. JANET: Yeah, well, we were no slouches when it came to makin' up, either, huh? Well. Um ... wow. (He stands up and hands her the stack of gifts.) Bailey, maybe we could... you know, talk one of these days. BAILEY: I'll call you right after the holidays. JANET: Merry Christmas, Bailey. BAILEY: You, too. (Janet turns and leaves.) CUT TO: [INT. GINNY’S HOME – DOWNSTAIRS – NIGHT] (Lightning flashes; thunder crashes. Will comes down the stairs. He looks out the open door to make sure no one is there, then sits down on the chair. He goes through Ginny’s sewing kit and takes out the tablet she used as a diary.) (Will opens it and starts reading.) GINNY: (v.o.) (written in diary): "I love Will, but I can't stay here forever. So many people tell me I have to move on, try to make something of my life. It'll be so hard to leave, but I have to. CUT TO: [INT. VCTF – COMMAND CENTER – DAY] (Sam paces and thinks as George types.) SAM: Mrs. Somerset was old enough to be his mother, so maybe that's what she represents to him -- an abusive mother. GEORGE: Granted, mothers are capable of a lot, but to damage him so he would kill like this? SAM: Well, what is the worst thing that a mother could do to a child? Hmm? Abandon him. Leave him when he needed her the most. Die. GEORGE: Here it is. Tilden property tax records. (mutters) Why was I looking for them? SAM: Because the family may have moved to Tilden from someplace else. GEORGE: Okay. The Potters, the Murphys, and the Tibbets all moved to Tilden in the last three years. CUT TO: [INT. GINNY’S HOME – DOWNSTAIRS – DAY] (The star on the Christmas tree is on. “Silent Night” plays in the background. Ginny takes out a wrapped present for Will.) GINNY: Merry Christmas, honey. I hope you like it. (Just before he opens it, AJ appears in the doorway. He’s carrying a beer can.) (Will opens the box. Inside is the quilt Ginny made.) GINNY: Like it? (AJ is quiet.) [INT. VCTF – COMMAND CENTER – DAY] (George finds something.) GEORGE: Whoa. Michael Tibbet of Minneapolis killed his wife Kathleen and then himself. Date is eight years ago today. (The article up on the monitor reads: FATHER OF THREE SLAYS WIFE, SELF. MINNEAPOLIS – Michael Tibbet of Minneapolis was found dead at his residence, the victim of an apparently self-inflicted gunshot wound to the head. Also found dead at the scene was his wife, Kathleen. Initial evidence indicates that Tibbet shot his wife and then took his own life. The cause for the murder- suicide is not known at this time, although neighbors say they argued frequently. Surviving the tragedy are the Tibbets’ three children, eldest son AJ, daughter Virginia and son Will. The surviving Tibbets are staying with relatives pending results of the coroner’s inquest.) SAM: They left behind three children-- A.J., Virginia, and Will. (nods) Yep. (Sam turns and heads out.) [INT. GINNY’S HOME – DOWNSTAIRS – DAY] (AJ is quiet in the doorway. Will hugs the quilt to his chest.) GINNY: This could be a good day. This could be a very good day. WILL: Maybe it could be like the old days. (AJ hears memories of shouting voices. He drops his beer can and it hits the floor. It sounds like a gunshot.) (AJ runs into the room and pushes Will.) AJ: It's on account of you! GINNY: (shouts) AJ., stop it! Please! (AJ picks up the small tree.) AJ: Mom and Daddy hated each other on account of you! GINNY: No, AJ! Don't! (He slaps Ginny and she falls back.) AJ: You ruined everything! (AJ hits Will with the tree. The lights pop and short out. Ginny screams in the background.) AJ: You're stupid! And slow. Mother hated being home 'cause of you! She ran off ... and left us ... because of you! (AJ grabs Will and starts choking him.) GINNY: (screams, o.s.) Stop it! Please, AJ, stop! WILL: Unhh! Unh! (AJ chokes Will.) WILL: Unhh! Uhhhh! (Ginny hits AJ in the back with the axe.) THUD. (Suddenly AJ stops.) AJ: Ginny ... Gi -- ohh! (AJ lets Will go and collapses on the floor. Ginny checks on Will.) GINNY: Willy, you okay? Willy? Willy, he's not gonna hurt you anymore. You're gonna be okay, baby. Willy, don't you leave me. Don't you leave me, Willy. (AJ is dead.) GINNY: Come on, Will. Come on. Come on. (The Christmas tree light blinks near his head.) CUT TO: [EXT. GINNY’S HOME – DAY] (The deputy leads Will and Ginny out of the house. The quilt is wrapped around them both. They stop in front of Bailey and Sam.) WILL: It was me. I killed them. And AJ, too. Well, he was gonna kill Ginny. I--I couldn't let him kill Ginny. It was Christmas morning. DEPUTY: Come on, son, let's go. Let's go. (The deputy leads them both away.) (John walks out with Ginny’s tablet in a bag.) JOHN: Ginny's diary. Every victim's in there. Travers was her lover. The rest were friends encouraging her to leave her brothers, move out on her own. BAILEY: Turn it over to Landry. SAM: He didn't kill his brother. BAILEY: He confessed to all the others. SAM: He couldn't kill AJ. He was trying to keep his family together. He was killing to keep it that way. So what do we do? BAILEY: She was defending Will. SAM: That's not really an answer, Bailey. BAILEY: It's Christmas. It's answer enough. (Bailey and Sam turn and head toward the cars.) CUT TO: [INT. SAM’S PLACE – NIGHT] (John is dressed as Santa and greets Grace as she walks in. He’s even got a brass bell with him.) JOHN: (loudly) Ho ho ho, and a Merry Christmas to you! (He kisses Grace smack on the lips.) GRACE: Mmm! JOHN: Mwah! GRACE: Wait a minute. (She pulls John’s beard down.) I know you. Aren't you the guy who had his pick of six dates? (gasps) Don't tell me. They all lost track of time. Ho ho ho. (She chuckles and walks away from him.) JOHN: (puzzled) How the hell did they find out? (John looks around.) JOHN: Bailey ... I got you a Christmas gift. (John joins Bailey, who is eating. John digs into his Santa’s bag and gives him the small-nose-clipper-sized box.) BAILEY: You didn't have to do that. JOHN: Oh. Well ... I wanted to. (Bailey takes it and looks at it.) BAILEY: I didn't get you one. (The grin is plastered on John’s face. Bailey goes back to eating.) JOHN: Why not? (He doesn’t answer him.) (Sam and Chloe head for the tree.) SAM: Let's put the star on the tree, okay? Everybody, come on. It's time. Grace. (She motions for everyone to gather around the tree.) GRACE: Coming, coming, coming. Hi, George. (Chloe holds the star. Grace looks at the tall tree.) GRACE: Oh. We're gonna need a ladder. BAILEY: What ladder? (He gives his glass to Sam.) BAILEY: Hold this. SAM: Oh. Yep. GRACE: Be careful. (Bailey reaches down -- BAILEY: Don't worry. You forgot I had two girls? -- and picks Chloe up. He lifts her high enough to put the star on the tree.) GRACE: Aah! SAM: Be careful. JOHN: Ho ho! SAM: Oh ... Bailey ... (The star lights up. There’s a light applause.) JOHN: Ho ho ho. (Bailey puts Chloe down. Grace and Sam start everyone singing.) EVERYONE: (singing) Oh, come all ye faithful / joyful and triumphant (Bailey opens the gift from John and finds a nose-hair clipper inside. He smiles. John winks and points to him.) EVERYONE: (singing) Oh, come ye / oh, come ye to Bethlehem Come and behold him born the king of angels Oh, come let us adore him / oh, come let us adore him ... FADE TO BLACK. ========================== END OF EPISODE ========================== [Closed Captioning made possible by court tv. Captioned by the National Captioning Institute www.Ncicap.Org] Transcript by intrepid Beta: Diane M. Courtesy of http://www.kilohoku.com/ Contact the Transcriptionist at intrepidly002@yahoo.com As a courtesy, do not archive this transcript without written permission from the Transcriptionist. ========================== TITLE/OPENING CREDITS ========================== PROFILER 3X08: HOME FOR THE HOMICIDE ORIGINAL AIR DATE: 12/12/1998 TRANSCRIBED FROM DVD Cast: ALLY WALKER as Dr. Samantha "Sam" Waters ROBERT DAVI as Agent Bailey Malone JULIAN McMAHON as John Grant ROMA MAFFIA as Grace Alvarez PETER FRECHETTE as George Fraley Created by: CYNTHIA SAUNDERS Executive Producer: STEPHEN KRONISH Co-Starring HEDY BURRESS as Ginny Tibbet PATRICIA HEALY as Janet JAMES PARKS as AJ TibbetTAIT SMITH as Will Tibbet EVAN RACHEL WOOD as Chloe Walker and JOHN MESE as Paul Sterling Executive Consultants: IAN SANDER Executive Consultants: KIM MOSES Co-Producer: GARY LAW Co-Producer: ROBERT PARIGI Consulting Producer: MELINDA SNODGRASS Supervising Producer: TIM IACOFANO Co-Executive Producer: CLIFTON CAMPBELL Teleplay by: JENNIFER FURLONG Story by: JENNIFER FURLONG & SANFORD GOLDEN Directed by: JEFERY LEVY ========================== END CREDITS ========================== * Three Putt productions * Sanders/Moses Productions * NBC Studios Also starring SCOTT KLACE as Sheriff Pete Landry MARY PORTSER as Barbara Somerset KIVA DAWSON as Julie WYATT KNIGHT as Daniel Weller MARK ARTHUR MILLER as Ben Travers REILEY MCCLENDON as Mark Weller DOUG GOETZ as Deputy SAM MENNING as Drunk Executive Story Editor: JASON CAHILL Casting: ANTHONY BARNAO Director of Photography: LOWELL PETERSON Production Designer: VAUGHAN EDWARDS Edited by: GEORGE R. POTTER Music by: DANNY LUX Unit Production Manager: GARY LAW First Assistant Director: JOE INGRAFFIA Second Assistant Director: SEAN KAVANAGH Costume Designer: VICTORIA AUTH Art Director: JEREMY A. CASSELLS Set Director: CINDY COBURN Camera Operator: JOE CHESS First Asst. Cameraman: MARICELLA RAMIREZ Key Grip: SCOTT PROPHET Production Sound Mixer: MICK FOWLER Second Second Assistant Director: NANCY L. VENTURA Set Designer: BRIAN JEWELL Location Manager: KEVIN MCATEER Chief Lighting Tech: JOE GALLO Special Effects: MARK BYERS Construction Coordinator: ANDREW MOORE Stunt Coordinator: KEITH TELLEZ Leadman: STEVE SEINE Art Department Coordinator: KATIE RIXON Property Master: ROBERT KYKER Department Lead Make-up: CARLA FABRIZI Department Lead Hair: CARL BAILEY Production Accountant: PHIL CASTANEDA Transportation Coordinator: THOMAS GILHOOLEY Additional Second Assistant Director: BRAD TOBERMAN Script Supervisor: LYN NORTON Production Coordinator: PHYLLIS HAMILTON SALDUTTI Assistant Production Coordinator: CHERYL CAIN Assistant Location Manager: REBECCA MILGROM Post Production Supervisor: CHRIS CHERAMIE Assistant Editor: MONICA GILLETTE Computer Graphics: PAUL LEBLANC Video Playback Supervisor: BOB MORGENROTH Post Production Coordinator: SAM BOLLINGER Post Production Assistant: JOHN DVI-VARDHANA Sound Supervisor: WILLIAM DOTSON Sound Effects Editor: DAVID FARMER Music Editing: MICDI PROD./ M. DITTRICK Re-Recording Mixers: MIKE OLMAN / LIZ WROKA Technical Advisors: JIM GREENLEAF / HOWARD TETEN Executive in Charge of Post Production: JOSEPH DERVIN, JR. 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) 1998 National Broadcasting Company, Inc. All rights Reserved. Executive in Charge of Production: NORA REYNOLDS aetv.com Dated:12/23/2007~lky http://www.kilohoku.com/