Elders (Moderators) Libby Posted March 9, 2005 Elders (Moderators) Share Posted March 9, 2005 (edited) 522666 [MLM-105 (4C05)] Written by Glen Morgan & James Wong Directed by David Nutter U.S. Air Date: November 22, 1996 [Transcribed by Maria Vitale Edited by Libby] WASHINGTON, D.C. WEDNESDAY, 11:46 PM EST [inside a crowded pub. "I Must Not Think Bad Thoughts" by X, from the More Fun in the New World CD, is playing in the background as various patrons sit at the bar, tables or booths - laughing, talking and enjoying their drinks. Waitresses move about taking orders and delivering drinks.] {Music: "I must not think bad thoughts. I must not think bad thoughts. I must not think bad thoughts."} WAITRESS: (to the bartender) I'll be right back for the pint of stout, okay? [she walks away from the bar with a pint of beer on a tray. The camera moves through the pub past crowded tables and booths. It finally reaches the rear of the pub where a man sits alone in a large booth.] {Music: "The facts we hate, we'll never meet walking down the road, everybody yelling hurry up, Hurry up! The food cooks poorly and everyone goes hungry - I must not think bad thoughts. What is this world coming to? Both sides are right and both sides murder. I give up! Why can't they?"} [The man is smoking a cigarette and watching the people in the pub - couples talking, waitresses with their customers.] {Music: "I must not think bad thoughts. I must not think bad thoughts."} [As he's watching them, he envisions an explosion occurring in the pub.] [He sees: shock waves hitting the people, wind blowing through their hair, their bodies being shoved by the impact from the force of the blast. He hears their screams. He hears explosion after explosion and sees a bright light illuminating the patrons as they are thrown back from each impact.] [He wipes his eye, as if some debris from his imaginary explosions have found their way there as a waitress tries to get his attention.] WAITRESS: Sir? Sir? Do you know if your party's going to show? 'Cause at night we like to reserve these booths for four people or more. [He doesn't reply, instead, he gets up from the booth, walks past her and goes to a pay phone. A different song is now playing in the background.] {Music: " ...and I live like I live... 'cause I ain't got nothing left to give. And I take what I take... "} [The man reaches the phone, picks up the receiver and presses: '9-1-1.'] OPERATOR: Emergency Operator - may I have your name? [The man remains silent but presses: '5-2-2-6-6-6' then hangs up the phone.] [At a parking garage, we see the bomber standing beside a car, smoking another cigarette. He is looking at the pub which is across the street from the garage - its name: The Queen's Arms.] [He calmly smokes his cigarette watching some people standing by the door of the pub. He looks at his watch. It reads: 'TR 11:59.' It also has a counter which reads: 00'37" and is ticking off down to zero and midnight.] [He tosses down his half-smoked cigarette and crushes it with his shoe. Two other stubs are already there having been smoked earlier.] [He readies himself for the impact and sees some new patrons arrive in a mini van. He again looks at his watch. It reads: 00'20" and continues to tick down to zero. His belt bucket can be heard as it is undone.] [He feels a preview of the blast from the bomb in his mind as hears the roar of the noise from the explosion before it actually happens. He again envisions the patrons as he did when he was inside the pub: the impact from the blast as they scream and are physically shoved from the force of the shock waves.] [The mini van which had delivered the people to the pub then pulls away.] [The bomber shuts his eyes tight and braces himself for the anticipated impact.] [A couple of seconds later an explosion rips through the pub and the blast sends shattered bits of glass and other debris everywhere, knocking him backwards to the ground.] SEATTLE, WASHINGTON WEDNESDAY, 9:35 PM PST [The Black residence, the Blacks' bedroom. Frank lies back in bed, watching TV, clicking his remote control through various channels.] MAN #1: We're headed into overtime, Rockets and Sonics tied at 80. [Click.] MAN #2: ...calls it one of the best new shows of the season. Sundays, after football. [Click.] MAN #3: This feed is live from the Embassy Row District in the nation's capital. [The TV screen is finally seen. A news broadcast shows the aftermath of the explosion at the pub. 'Washington, D.C. LIVE' has been superimposed in the upper left hand corner of the screen and it remains throughout the newscast. Sirens can be heard wailing in the background as several firemen and rescue workers try to remove victims from the wreckage.] MAN #3: At about ten minutes after midnight, an explosion ripped through The Queen's Arms, a popular pub frequented by British diplomats. [Frank leans forward and watches the news footage. A man can be seen holding an IV bottle as a paramedic tends to one of the victims.] {MAN #3: Witnesses reported seeing a fireball that literally blew out the front of the pub sending lethal projectiles, shards of glass and splintered wood flying blocks away.} [Frank gets up, walks over to the closet and picks up a travel bag as the news report continues in the background.] MAN #3: Authorities in the D.C. area responded quickly to the tragedy. The first emergency vehicle arrived at the scene less than two minutes after the explosion. [Catherine enters the bedroom and watches as her husband packs the bag with some clothes.] MAN #3: The number of victims have taxed the resources of the nearest emergency rooms. Hospitals in the D. C. area... [Frank's beeper can be seen on top of the dresser - its screen is dark and blank.] CATHERINE: They haven't called you. FRANK: They will. [Frank pauses from his packing and looks at the TV screen again.] MAN #3: ...some have been helicoptered as far as 15 miles away. Authorities have yet to determine a cause for the explosion. [Frank's beeper begins beeping. Catherine picks it up and looks at it. It reads: '2000 21:37.'] MAN #3: Of course, when an event like this occurs in the nation's capital, the possibility of a terrorist attack cannot be dismissed. The number of casualties has now been confirmed to 13 dead, 20 in critical condition. [she walks over and stands beside Frank, handing him the beeper. Scenes on the TV continue as more victims are pulled from the building and attended to by paramedics.] MAN #3: The F.B.I. and the A.T.F. have been notified and are joining... [Frank looks at the beeper, then continues packing his clothes.] CATHERINE: How long will you be away? FRANK: Until we're certain it won't happen again. MAN #3: "Police and heroic rescue volunteers are working feverishly to save any victims still trapped in the rubble." [The bomber can be seen kneeling on the ground beside a female victim from the explosion. A female officer is behind both of them, trying to help the woman.] {MAN: (shouts) Yo, can we get a medic?!} [He then rises and walks off screen to look for help for the woman.] [fade to black] [main titles] "I am responsible for everything... except my very responsibility." Jean-Paul Sartre [polaroid fade up] JOINT TASK FORCE HEADQUARTERS WASHINGTON, D.C. THURSDAY, 9:23 AM EST [Frank arrives and meets with Peter Watts as they both head towards a meeting of various federal law enforcement agency members. Both are wearing ID tags clipped to their jackets. Frank is carrying his bag with him, obviously having gone straight to the federal building from the airport.] FRANK: I read the reports on the plane. Anything new? WATTS: Conclusive evidence through vapor trace analysis that it was a bomb. RDX residue, probably Semtex. Other than that, nothing. FRANK: What agencies are involved? WATTS: Name it. The Bureau, A.T.F., D.C. Metro. No egos. People just want to get it done. Jack Pierson's heading the task force. [They arrive at the conference room. A hand-written sign is on the door: 'DEAD EYE DICKS ONLY.' They open the door and walk down a flight of stairs.] [Phones can be heard ringing. Several agents are busy at various desks and tables set up in the room. Along the walls, some maps are on display and various electronic equipment can be seen such as a TV, VCR and an audio reel-to-reel recorder. All of the agents and detectives in the room also are wearing ID tags. Some are wearing A.T.F. jackets.] [As Agent Pierson begins the briefing, most of those present take notes.] PIERSON: At 12:20 AM, The Washington Post received the first call claiming responsibility. It was made from a pay phone at 28th and Lincoln, west district. Forensics is examining the booth for prints. [Pierson sits on the edge of the table with the audio reel-to-reel recorder and presses the 'PLAY' button of the machine. The recording of the phone call can be heard as Frank and Watts make their way through the crowd of agents and stand within eyesight of Pierson. He nods hello to Frank, who nods in return.] [The voice of the first recording is of a male who seems anxious, speaks rapidly and bears no distinctive accent.] MAN #1: Take heed, agents of ZOG. Tonight's hellfire is only the beginning. Our capital's been designated a kill zone as prophesied in the Turner diaries. The covenant of ZOG will be overthrown. True Americans have renounced this b******* son of freedom and justice. Repent! Abolish the I.R.S.! The people will prevail! [Pierson presses the 'stop' button on the machine.] PIERSON: We're in the process of going through the N.S.T.L. Agent Mills? MILLS: No intelligence reports of increased militia activities. FRANK: An English pub isn't a likely target. PIERSON: This next call is scarier. Received 23 minutes after the incident. [He presses the 'play' button again.] [The voice of the second recording is also of a male. He has a marked Middle Eastern or Arabic accent and speaks slowly with great emphasis placed on each word.] MAN #2: Tonight, at ten after midnight, the A.N.O. claims 13 lives as payment for the continuing oppression of our people. Withdraw your support for the Zionists. [He presses the 'stop' button.] WATTS: A.N.O. - Abu Nidal Organization. Maybe the Fatah Revolutionary Council feels left out of the peace talks. FRANK: There's a time discrepancy. PIERSON: For the media, we established the time of the blast at ten minutes after midnight. In actuality, detonation was dead-on at twelve. This next call, received ten minutes prior. It's a code, similar to I.R.A. bomb alerts used in England. [He presses the 'play' a third time.] [six tones can be heard on the tape.] [Pierson stops the machine again.] PIERSON: Those tones correspond to the numbers: '5-2-2-6-6-6.' [Frank walks over to the table, takes a pencil and looks at a telephone dial.] WATTS: The Queen's Arms is a hangout for British Embassy employees. The State Department is giving us a background on the victims. [Frank writes down the numbers then the corresponding letters above it which spell out the bomber's message: ] 5 2 2 6 6 6 K A B O O M [Frank holds up the pad and shows it to Watts and the others.] THURSDAY, 10:13 AM EST [Frank, Watts and some of the others are inside the charred Queen's Arms, looking through the rubble with flashlights. Garbled radio transmissions can be heard in the background.] [Frank kneels down and looks at some debris. It triggers two brief visions.] [He sees the victims exactly as the bomber did, prior to the explosion: the full impact of the shock wave hitting the victims. He hears their screams.] [Frank turns his head and see two more brief visions.] [He sees: bright lights illuminating the victims. He hears the sound of the explosion and their screams again as he sees them being pushed by the force of the shock wave.] [Pierson walks up behind Frank and shines the flashlight on the ground near him.] PIERSON: That's the seat of the explosion. If you'd been sitting in that booth at the moment of detonation your flesh would have been Kleenex. [A member of the Bomb Squad enters the area.] BOMB SQUAD: Agent Pierson? PIERSON: Yeah. BOMB SQUAD: Found this approximately 200 feet down the street. [He hands Pierson something inside of a plastic evidence bag.] PIERSON: Part of the detonator. BOMB SQUAD: Whoever built it didn't take any chances. WATTS: Chances? BOMB SQUAD: See these wires? Three too many. Built-in redundancy so if the first system failed there'd be two backups. [Pierson sighs.] FRANK: May I? [He takes from the bomb squad leader another plastic evidence bag he has been holding in his hand. He holds it up and shines the flashlight on it. It is a combination lock, the kind with three rolling tumblers with numbers on them.] FRANK: Briefcase. Probably placed beneath the booth. [Watts takes the bag from Frank, looks at it and reads a word engraved above the tumblers.] WATTS: Egyptian make. FRANK: The bomb was professional - placement was not. A waitress could have found it. A customer kicking it would have discovered it. WATTS: I'll check it out. Cover our bases. [They exit the building. Outside, several other officers, detectives and agents are on the scene, as are some members of the press.] WOMAN: Agent Pierson? PIERSON: Yeah. WOMAN: Nightline's covering the bombing tonight. [Frank looks at the exterior of the pub, its sign, a coat of arms above the words: 'QUEEN'S ARMS' has been partially knocked off its position and is now barely still attached to the building front. He turns away from the two as they speak. His attention is focused on the parking garage building across the street. He then sees several images, in quick succession.] [He sees: the pub, intact, prior to the explosion, from the same vantage point the bomber had; a partial view of the 'PARKING' sign from the garage; again the pub before the destruction; the pub with a bright yellow light coming from its interior as the bomb exploded; again the partial view of the 'PARKING' sign, also being flooded with that same yellow flash of light; the blast itself and it ripped through the front of the pub and out onto the street - flames engulfed in a yellow haze, debris being shot out in every direction; then finally a blank screen. Sound of explosions throughout.] [Frank shields the sun from his eyes with his hand as he continues to look over at the parking garage.] WOMAN: Kopel wants a representative to explain the psychology of someone who could shred 13 complete strangers. PIERSON: Frank? FRANK: I have a job. [He crosses the street and walks toward the parking garage.] THURSDAY, 10:56 AM EST [Frank can be seen walking on one of the upper levels of the parking garage. Pierson is following him. Bits of broken glass and debris from the explosion littered the ground.] [He walks over to the side of the parking level where the bomber had stood watching the pub prior to and during the explosion. He looks down on the scene below. The entire area is cordoned off. A police van blocks one side of the sidewalk. Two squad cars block access to the front of the building. Officers are on the scene, still looking through the rubble.] [He turns and sees six cigarette butts on the ground. He crouches down next to them. Pierson walks over, pulls on a rubber glove, bends down and picks one up.] PIERSON: I.R.A. British brand. FRANK: British pub. He was in it. PIERSON: He? [Frank nods.] PIERSON: You feel we're not dealing with foreign co-conspirators? FRANK: Political terrorists would be far from the scene. He was here, watching. [Frank then looks to his right at a trash can standing by a support column. They both rise and walk over to it. Frank moves some papers at the top of the pile. Pierson with gloves now on both his hands, then picks up a folded napkin from the trash can. It is from the pub with the coat of arms printed on it. He unfolds it and looks at its contents.] PIERSON: (repulsed) Ugh. He was here all right. My own preference is to imagine girls who wouldn't date me. FRANK: He was excited, anticipating what was about to happen, and at midnight last night he got his release. THURSDAY, 11:25 AM EST [The bomber's residence. A wide assortment of sophisticated electronic equipment occupy a couple of tables: a reel-to-reel audio recorder, several wide-band scanners, and police band receivers. Various radio transmissions from the night before can be heard playing on the reel-to-reel machine.] WOMAN #1: Emergency Operator - may I have your name? [He is sitting near the equipment. He is reliving the memory of the bomb explosion and has several quick flashbacks - all the while he is panting heavily, sexually aroused by the destruction he has caused.] [He sees: the bomb blast just at detonation, bursting forth from the pub, from his vantage point at the parking garage; several of the patrons from the pub as he saw them while he was still inside - being struck by the shock waves from the explosion; a bright white light; two more patrons being hit by the shock waves. Sounds of explosion and screams throughout.] [There is a close up of his face, his eyes, as he listens to the tape and becomes more excited.] WOMAN #2: There has been an explosion at The Queen's Arms, 424 37th St. All units respond. [He continues to pant, moaning slightly. The camera pans across the table past the other equipment and reveals the tools of a bomber's trade: plastic explosives, tape, various tools, wires.] [He sees: a bright white light which fills the screen and turns into a red-tinged one resembling blood; several victims from the explosion receiving emergency medical treatment at the scene, each shown in quick succession; the same red-tinged screen; a quick blurred images moving across other victims from the blast and again the red-tinged screen. Sounds of screams and a rumble or roar throughout.] MAN #1: Send all available units to The Queen's Arms. [His panting becomes more rapid and heavier. The camera continue to pan over to another table where sticks of dynamite taped together can be seen as well as some detonators, radio remote control transmitter, other tools and smaller items and a briefcase, already packed with explosives, some wires are partially attached to the explosives and the case itself - his next bomb in the making.] MAN #2: Setting up a perimeter on 37th between Franklin and Cedar. WOMAN #3: All units respond, code three. [He sees: the same red-tinged screen; several vague, indiscernible images; then some different people, in an office setting, also experiencing the same blast from shock wave as did the patrons from the pub; several of them are screaming; a white-gloved hand can be seen extended and raised upright; then an explosion and sparks from a fire as some desks and office equipment are blown to pieces. Sounds of screams and a rumble throughout.] WOMAN #3: All hospitals in the area have been put on alert. Standing by. [His face is shown again - now much more calm. His breathing has returned to normal as he continues with the assemblage of the bomb.] [back at the Joint Task Force Headquarters. Watts and Agent Pierson return to see what has been learned so far.] PIERSON: All right, it's five after one - time for the noon meeting. Let's hear it. AGENT TAKAHASHI: Got a partial serial on what we believe is the receiver casing. Checking manufacturers to determine location of purchase. [Pierson nods and takes a number of his messages from another agent, quickly looks through them.] PIERSON: Briefcase. WATTS: Egyptian make. However, this particular latch is used on three different brands and ten models so there's thousands of them out there, but we're checking local stores for recent sales. OFFICER RILEY: This is a list of the morning canvas. Updates on the hour. [He hands out sheets of paper to everyone.] PIERSON: Hmmm. Caller's prints. RILEY: Full index. Partial thumb from the phone booth. Running it through N.C.I.C., C.P.I.C. and Interpol. PIERSON: Well, that's a start. The device we're recovering is highly sophisticated with a built-in backup system so we now know this guy has expert knowledge of both electronics and explosives. AGENT MILLS: This guy? [Pierson looks at Frank.] PIERSON: We now believe an individual set off the detonation, witnessing the aftermath last night from a nearby vantage point. And we fully expect him to obsessively follow this investigation. AGENT TAKAHASHI: You mean, in the press? FRANK: Closer. From his home. The bomb was complex, intricate - perhaps overly so. I believe this trait extends to his obsessions. Expect to find an array of eavesdropping devices - scanners, cell phone cloners, R.F. receivers. He's listening to every transmission we make. It's his way of inserting himself into the chaos - the chaos he creates. PIERSON: And that's why we're changing the protocol. All communication regarding this investigation will be conducted through hard line only. No one is to use their cellular phone, except Frank Black. THURSDAY, 5:32 PM EST [Again we are in the bomber's home. He is using a TELE COMM Scanner to pick up and monitor various transmissions, confirming exactly what Frank said he would be doing.] WOMAN: Then Alison said she heard it was a bomb. And I told her, 'I just pray that it was a gas leak.' [A number of conversations can be heard garbled and overlapping. He then turns the frequency dial and it scans through radio band waves and beyond into cellular phone lines, picking up snippets of conversation until we hear Frank's somewhat garbled voice. It draws the bomber's attention.] FRANK: You got a confirmation on that? Did we get a vapor trace analysis? PIERSON: It was positive. Semtex. Probably stolen from the military. [He moves over to the scanner to try and fine tune the frequency. The conversation can now be heard clearly.] FRANK: Have the National Guard Armory check its inventory. [Having isolated the transmission, he listens to the conversation.] PIERSON: Riley and Johnson are looking into Fort McNair and Boling Air Force Base. I'll check the Washington Navy Yard. FRANK: Call you in an hour. I think we're getting close. [Conversation over, a dial tone can be heard as he sits back in his chair and notes what he has found.] FREQUENCY: 840.630 CELL DATA DISPLAY: 202-555-1367 Cell Location: C 3633 142 [Elsewhere in the city, Pierson can be seen exiting an outdoor phone booth. He walks towards a car where Frank is waiting, sitting in the driver's seat, cell phone in hand. He puts the phone down on the dashboard. Pierson leans on the open passenger window to speak with Frank.] PIERSON: How long do we chump for him? FRANK: For as long as it takes. I'm going to try a different cell site. [Pierson nods and begins to walk away when Frank's cell phone rings. Frank picks it up.] FRANK: Yeah. [No one speaks.] FRANK: Hello? [Tones can be heard - the same ones as before are pressed again: '5-2-2-6-6-6,' then the phone is hung up and a dial tone is heard. Frank closes the cell phone's antenna.] FRANK: Contact. [back at the bomber's home, he does the same with his cell phone. As he puts the phone down on the table, he has a quick vision: ] [He sees: himself; then a flash of yellow light as he sees himself again, touching his face - the flashes seems like flames which are surrounding him.] [fade to black] [polaroid fade up] THURSDAY, 8:16 PM EST [back at the Joint Task Force Headquarters. Frank, Watts and the other agents have prepared an elaborate trace on Frank's cell phone. Agent Sullivan explains their plans. Agent Pierson is also present.] [sullivan sits at a table before some equipment. Two other tables have been arranged around him in a U-shaped configuration. Another agent mans some other equipment behind Sullivan at a second table. The third table is bare except for some headphones and Frank's cell phone. Frank, Watts, Pierson and another agent are standing by this third table.] AGENT SULLIVAN: The instant your finger hits the 'send' button, we're on to it. We've got every piece of equipment ever invented at our disposal. Court orders have been signed. Phone company's on board. All we need to do is keep him on line. WATTS: How long? SULLIVAN: Depends. If he's calling from a land line - FRANK: (interrupts) He'll use a cloned cell phone. SULLIVAN: Right, absolutely. And if he's smart - FRANK: (interrupts again) He is. SULLIVAN: - he'll use several, in rotation. PIERSON: If he changes signals, it'll be impossible to trace. SULLIVAN: No, not impossible. Very hard to trace, not impossible. If we can lock on to the signature frequency of his phone we can use RF-call trace, which is only a ten-second delay from real time to track cell sites, cell faces, hand-offs, signal strengths - then we can start to close in the circle, pinpoint his location. The key is keeping him online until we lock in. FRANK: All we have to do is wait. [Frank removes his jacket, walks over and drops down into a chair off to one side. He sighs, exhausted. Watts walks over to talk with him.] WATTS: How long have you been up? [He sighs again and looks at his watch.] FRANK: About 37 hours. Can't sleep on a plane. [Frank's cell phone rings.] SULLIVAN: Whoa. [He turns on a reel-to-reel audio recorder and his other equipment. Watts and Pierson pick up headphones and put them close to their ears so they can hear the conversation. Frank picks up the cell phone, pauses a moment to give everyone time to get ready, then presses the 'send' button on the phone. As he does, Sullivan puts his own headphone up to his ear, then he presses a two-minute timer which starts counts downward from '2:00.'] [Frank pauses and speaks as slowly as possible, in order to buy them as much time as he can for the trace.] FRANK: Yeah. [No verbal response, only the same tones are heard again: '5-2-2-6-6-6.'] FRANK: Who is this? BOMBER: (singingly) Hello. FRANK: Who is this? [Perspective shifts to the bomber who is calling from his home. He's using his watch again to time the length of the phone conversation. The watch face reads: 'TR 8:19 01'45".' It continues to tick downwards towards zero.] BOMBER: (pause) A star. [Frank shuts off the phone. Watts looks at him. Sullivan shuts off the recorder and the counter, also looking at Frank as he sits down at the table with the cell phone before him, waiting. The phone rings again. Again the machines are turned on. Frank picks up the phone and hits 'send.' The timer is set again at 2 minutes.] FRANK: Yeah. [The view alternates between the two during their conversation. The bomber also has reset the timer on his watch: TR 8:19 01'54",' and ticking downwards.] BOMBER: Well, that was rude. I thought you'd want to talk to me. FRANK: (feigning annoyance) Who the hell is this? BOMBER: The one you've been working so hard to find. FRANK: (pause) Prove it. BOMBER: RDX. C-4. Homemade. Underneath the booth, in the back. [Frank looks up at Pierson, who is standing beside him, and nods.] FRANK: Okay, look, I want to help you. BOMBER: You want to stop me, don't you? You do your job, you'll be famous. A real star. [He looks at his watch. The timer reads: '01'01"' and continues to tick downwards.] BOMBER: Isn't that right - star? FRANK: (exhales) All I want to do is communicate. That way we can help each other. First, I need a name. What do I call you? BOMBER: I already gave you my name. [Frank looks up at Watts.] FRANK: Kaboom? What kind of name is that? Sounds like that little guy in The Flintstones. [The bomber again looks at his watch. It reads: 'TR 8:20 00'13"' and ticks down to '00'11"' when Dees hangs up the phone, ending the conversation. A dial tone can be heard. Frank has a small smile as he too shuts off the phone. Sullivan shuts off the recorder again and stops the timer at: '0:04.'] WATTS: Lost it. SULLIVAN: That was 'Kazoo,' by the way. PIERSON: Frank, you believe the, uh, tone was appropriate? FRANK: He enjoys the sport. He'll call back. WATTS: He knew what he was doing. He gave us less than two minutes. SULLIVAN: We did get a frequency and sector grid. PIERSON: Unleash the hounds. THURSDAY, 9:35 PM EST [in a back alley, two black vans stand waiting. Watts, Frank, Sullivan, Pierson and a handful of other agents head for the vans which are equipped with various surveillance and tracking machines.] WATTS: (to Sullivan) I know the Rock Creek area. Might be best if Agent Nolan, Agent Takahashi and I take the northwest corner and go south. SULLIVAN: Okay. We'll take the Mill Creek Cemetery and move north. Once we confirm the suspect's signature frequency, we'll lock-on and triangulate to pinpoint his location. WATTS: Right. [Frank and Pierson get into the first van with Sullivan. Both vans move out into the city. The Capitol building can be seen illuminated against the city skyline.] FRIDAY, 2:15 AM EST [The people in the vans check in with each other.] WATTS: Charlie One, this is Charlie Two. We're in position at 1300 Lincoln and Carolina. SULLIVAN: Copy, Charlie Two. [The phone rings. Sullivan begins his trace and sets the timer at '2:00.' Frank picks up the phone and presses 'send.' He hears the same six tones again.] FRANK: Yeah. [The bomber hangs up and a dial tone can be heard. Frank shuts off the phone.] PIERSON: (sighs) Every 15 minutes for the last three hours straight. [sullivan shuts the trace down and resets the timer which had reached: '1:45.'] FRANK: (to Sullivan) Is there any way to confirm that these phone calls are coming from the same location? SULLIVAN: No. Duration of the calls is way too short. FRANK: (sighs) It's calculated to burn us out. He's planning something for today. FRIDAY, 4:24 AM EST [Elsewhere in the city, the bomber stands across the street from an office in another parking garage, smoking a cigarette. The offices all have their lights on but are obviously empty due to the hour. The bomber has a very brief vision as he looks at the building.] [He sees and hears: an explosion; a brief red then white flash of light.] [back in the first van, Frank's eyes grow heavy with sleep. Pierson is napping and Sullivan is nodding off as the phone rings again. Sullivan goes about setting things up again. Pierson wakes up, rubbing his eyes as Frank checks his watch.] FRANK: 5:17. A break in the pattern. [He presses the 'send' button.] FRANK: Yeah. CATHERINE: Frank, it's Catherine. [Camera alternates between the two throughout the scene.] CATHERINE: I'm so worried. You haven't called. FRANK: I have to call you back. CATHERINE: Frank, wait. Jordan... [Frank disconnects and a dial tone can be heard. Catherine is seen sitting up in bed. She puts the phone back in its cradle on the nightstand beside the bed.] [in the van, Frank picks up another phone and calls his wife back. The phone rings. Jordan can be seen in bed next to her. Catherine answers the phone.] CATHERINE: Hello? FRANK: Catherine, I'm so sorry. You can't call me on my cell phone. It's being monitored. CATHERINE: Monitored? Frank, what's going on? I know that you can't tell me the specifics, but are you all right? Jordan had a nightmare about you. [Frank's cell phone rings again. He puts down the phone with Catherine still on the line and picks up the cell phone.] CATHERINE: Frank? [sullivan sets things in motion again as Frank looks to him for the okay to answer the phone. The timer starts ticking down from '2:00' again. He then presses 'send.'] FRANK: Yeah. [Again the six tones can be heard.] FRANK: Yeah. [The view alternates between the two during their conversation. The bomber can be seen in his car, on the move.] BOMBER: Getting any sleep, Frank? Shouldn't let it keep you from calling Catherine. FRANK: You must be pretty tired yourself. [Catherine can be seen listening to the conversation through the open line.] BOMBER: No rest for the weary. [One of the machine's screens reads: '236°' with an arrow pointing east-west and '043°' with an arrow pointing north-south. Beneath the first signal bearing, the number '67' appears. Beneath the second, '54.'] [Another readout shows a fluctuating bar graph. Above it reads: 'SIGNAL STRENGTH,' two arrows, one points down, the other up and a box reading: '1X.'] [sullivan gives Pierson, who is in the driver's seat, a thumbs-up sign. He then starts the engine and begins driving the van.] FRANK: All work and no play makes a dull boy. [sullivan speaks into a small microphone built into his headset and feeds the coordinates he's receiving to Watts in the other van.] SULLIVAN: (whispers) Charlie Two, this is Charlie One. Signature frequency is: 8-3-5-5-6-1-2 point 6-7. [Watts can be seen in the second van. Agent Nolan is manning the equipment as Watts types in the numbers on a laptop computer in front of him.] WATTS: Copy, Charlie One. On the way. [He signals the driver, Agent Takahashi, to move towards those coordinates.] [Camera alternates between Watts's van, Frank's van, the bomber's car and Catherine throughout the rest of the scene.] BOMBER: What I do is not work, Frank. It's art. My palette is fire, glass and blood. It's a fleeting art. It lasts only a fraction of a second, but the effect is profound, permanent. [Frank checks the counter. It reads: '00:01:26' and continues ticking down.] BOMBER: And if you're lucky, you happen to look in the right direction at the right time, you might get to see my creation. FRANK: When? BOMBER: Later. Today. [in the second van: ] AGENT NOLAN: (to Watts) Got him. WATTS: (into his mike) Charlie One, just read a hand off. Cell 67 to cell 54. He's traveling. Strength of the signal indicates southeast. [A close up of Watts's laptop computer screen can be seen. It is mapping the signal frequencies and tracking the movement of the signal.] [back to the first van: ] SULLIVAN: (to Pierson) He's in a car. Turn left, now. [Pierson turns left at the next intersection and continues driving in that direction.] BOMBER: I touch people in a deep, lasting way. A life-altering way. FRANK: You're really a very important man. BOMBER: Well, thank you, sirrah. I'm glad you see that. Do you know precisely what happens at the moment of detonation? Shock waves moving faster than the speed of sound, pressure of over 500 pounds per square inch and this is all unleashed by me, Frank. It moves so fast that a vacuum is formed behind it, sucking back all the air that's been forced out by the blast. [Throughout the bomber's speech, various screens and display are seen. The timer ticks down to '0:54;' Watts laptop computer screen continues to map and follow the signal frequency; another device monitors the suspect's voice and displays it as a series of red lights which fluctuates as his voice is heard coming through a speaker. Sullivan makes some adjustments to try and fine tune the signal.] BOMBER: So, you see, Frank, a glass splinter will literally turn itself around, go back and penetrate anything that's in its path. I just don't know anything that has power to stop that. [both vans keeping moving closer to locking down the bomber's location.] BOMBER: My art brings out the truth. People are either vic-tors or vic-tims. My explosion strips every hypocrisy, every pretension sheltered in the human heart and exposes the naked soul. [Frank gestures at Sullivan with his hand, trying to find out if he still needs to keep the bomber talking.] SULLIVAN: (whispers) More time. [The bomber is about to shut off his cell phone.] FRANK: I feel your work is about waiting, anticipating the moment, the terror created. [He has the bomber's attention, as well as Catherine's.] FRANK: Playing so long on the mind, the fantasy becomes dull. The only moment worth a damn, the only arousal, is the moment of fire. Feel the heat upon your face. The impact upon your chest. The screams. The sirens. It is the moment of creation. [sullivan speaks into his mike to Watts.] SULLIVAN: (whispers) Charlie Two, lock on to 835567. Help me find him. [in the second van: another shot of Watts's laptop computer screen. It shows a blow up of the street they're on with two lines denoting both vans' locations and the suspect's signal that they're following. ] WATTS: Signal is real strong in cell 46 - that's two blocks northwest of your present location. [back to the first van.] SULLIVAN: (to Pierson): Turn right on Illinois. [The van makes the turn as the bomber responds to Frank's comments.] BOMBER: You're an artist too, Frank. SULLIVAN: (whispers to Frank) Oh, he's close. BOMBER: At nine o'clock this morning, I hope you'll appreciate my work. [The timer reads: '0:06' and ticks down to '0:05' as the bomber hangs up the phone and a dial tone can be heard. The timer continues to tick down to zero, then beeps.] SULLIVAN: Lost the signal. FRANK: Give me that number. [Frank dials the number. It rings. We see the bomber sitting in his car, now parked somewhere. He is looking intently at a napkin in his hands. His belt and jeans are undone. He does not answer the phone.] [back to the first van.] FRANK: He won't bite. [Frank gives up, shutting off his cell phone. Catherine then hangs up her own phone. As Frank puts down the cell phone next to the van's phone, he realizes he has left Catherine on the line throughout the episode with the bomber. He picks up the phone but only hears a dial tone. He shuts his eyes for a moment.] [As one of the vans drives past an alley, they pass the bomber who sits in the dark in his car, staring straight ahead.] PIERSON: Somewhere out here is a bomb. FRANK: And we got about three hours to find it. [The camera flies over the city at night.] [fade to black] [polaroid fade up] [Morning. Various law enforcement personnel are gathered around as a blow up of a street map of the Mt. Vernon Square area is rolled out. Pierson gives a rundown of what they've learned so far.] PIERSON: Using the data from the suspect's cellular phone activities, we've extrapolated the probable path of his vehicle prior to 5:17 AM when he contacted us. [He draws a wide red circle just north of the square.] FRIDAY, 6:37 AM EST PIERSON: It puts him near this two-block area of shops and businesses that might fit his pattern of attack. Red team will be searching the northwest section of Columbia to 13th. Blue team will start at Franklin and Fifth, move west to Marion Avenue. We are looking for any suspicious packages. Building managers, business owners have been notified. They will help us to determine if anything looks out of place, if there's been any sign of a break-in. We've informed our search teams: 'if they see anything that might be a bomb, do not be a hero. Note the location and alert the bomb squad.' [Frank checks his watch.] FRANK: We got two and a half hours. PIERSON: Let's go. [The officers and agents move out to their appointed search areas as Frank walks over to one side, placing his head in his hand, completely exhausted from over two days' lack of sleep. He then sits on a parked car. Watts walks over to join him.] WATTS: Frank, you don't look too good. FRANK: I'm all right. I'll get some sleep after we find him. WATTS: Well, at least we've determined the search area. FRANK: It's not enough, Pete - all this manpower. I feel I could save so many lives if I understood what he wants. WATTS: We all heard him, Frank. It's the thrill. Sexual transference. FRANK: It's more. His thrills wear out quickly. First, he alerts the authorities there's a bomb. After a day he needs more. So he has to contact us? Taunts us to the point of near capture? What will he do to increase his excitement? WATTS: What if it's some kind of god complex? He talked about his creation, about controlling people. FRANK: What I can't get out of my head is when he stated I'd be famous when I caught him. A 'star.' It lies in there, somehow. FRIDAY, 8:27 AM EST [Exterior of the same office building the bomber stood watching from the parking garage across the street in the early morning hours. Inside, the day's work is under way. Phones are ringing. People are moving about from desk to desk. An elevator dings and opens its doors, its passengers exit it and walk into the reception area of the office.] MAN: (to the receptionist) What a nightmare. Traffic was backed up to Fourth Street. It took almost an hour to move five blocks. RECEPTIONIST: There was a bomb scare. MAN: Giving every nut with a phone the power to shut down business. [He picks up and looks at his messages, walks over to his desk, places his briefcase on the desk and sits in his chair. The camera pans down below his desk and over to the wall where another briefcase sits.] [As other employees go about their work, we see a building maintenance worker, wearing coveralls, checking his watch. It is the same watch the bomber has been using. It reads: 'TR 8:29 14'57".' The maintenance worker is the bomber. He looks around at the people in the office. He envisions them during a bomb blast.] [He sees: shock waves impacting on some of them; superimposition of his own eye as he's watching them; himself in black and white, turning his head to look at others in the room; another man with the full force of the shock wave slamming against his chest; quick cuts of partial views of others; himself again, still in black and white, with his eyes closed; a flash of light; two women with wind from the blast blowing through their hair, then bathed in a blindingly bright white light; close up of one of the women, the receptionist; himself again, this time in color, eyes closed; then he sees himself in street clothes, bathed in a somewhat bright light, turning and smiling; the light becomes more bright, flashes of light on his face, he stands with his head thrown back, eyes closed, look of enjoyment on his face; the screen fills with a red glow resembling blood; he sees himself still with his eyes closed, a smile on his face; another bright light. Sounds of screams throughout.] [The bomber opens his eyes now that his visions are over.] [Outside, a police car drives through a search area. A number of other squad cars line the street. Two officers replace a barricade to restrict traffic to that street as they continue searching the buildings. Some radio chatter can be heard in the background. An ATF agent walks by with a dog.] [Frank walks out of the building and out onto the sidewalk, looking around him. Across the street, he spots a parking garage. He runs towards it.] [inside the garage, Frank runs up the ramps to the upper levels. He runs around a bit, checks his watch which reads about a quarter to nine, then runs to the side of the parking structure to look out at the street. He then looks down at the ground and finds two cigarette butts. He picks one of them up. It has a British emblem on it. These are the same brand of cigarettes they found after The Queen's Arms bombing. He turns and sees the office building across the street. The same office building where the bomber is dressed as a maintenance worker. He takes out his cell phone and dials in a number.] FRANK: Jack, this is Frank. Send the bomb squad to 2300 Oglethorpe, north of the parking structure on Maryland. [He begins running through the garage on his way out of the structure and out towards the office building.] [Meanwhile, the bomber is looking at his watch which reads: 'TR 8:44' and it is counting down from '00'16"' to '00'13"' as he keeps his finger on one of the buttons beneath the watch face. He looks over to the briefcase over by the wall behind the desk shown earlier.] [back in the parking garage, Frank is still running, making his way out of the building.] FRANK: (on the phone) You have 15 minutes - plenty of time to eva- [An explosion occurs behind him, throwing him to the ground and tossing his cell phone away from him.] [in the office building, debris from a small explosion has ripped through a desk, scattering debris and smoke throughout the office seen earlier. Alarms go off, people are coughing, some are crying and screaming. But the briefcase by the wall behind the desk remains intact. The main explosion has not occurred yet.] [in the garage, car alarms are blaring due to the loud noise of the blast as Frank tries to gather himself. He looks at his watch and see that it still reads a quarter to nine. Police sirens can be heard as they rush to the scene. Then Frank's cell phone begins ringing. Frank crawls over to the phone, picks it up and presses 'send.'] BOMBER: Just warming up. Hmph. Third floor. [Frank rushes to his feet.] [inside the office building, alarms are still sounding as people make their way down darkened, smoke-filled flights of stairs. Some people are coughing and screaming as Frank moves through them on his way up to the third floor.] MAN: Get out of here! Come on, move! [One man is seated on the steps. Frank climbs up past him, calling out to a guard as he does so.] FRANK: Help him! [He then shouts at the others in the stairwell.] FRANK: There's a bomb! Keep moving. There may be another bomb. [He finally reaches the third floor and tries to get the remaining people there to leave.] FRANK: Go! Go! [A man rushes up trying to get past Frank and knocks him to the ground. Down on the floor, Frank looks around and spots the briefcase by the wall. He tries to get up and move towards it when another man jumps on top of him and pins him to the ground.] MAN: Get back! [The bomb explodes. It rips through a couple of desks sending more debris and smoke into the air. Frank tries to raise his head which is cut on the forehead. The man speaks to him. His face cannot be clearly seen through the smoke. It is also covered with soot but he resembles the bomber.] BOMBER: It's all right. I'll get you out of here alive. [Frank passes out. The bomber then bends to try and carry Frank out of the building. Smoke fills the room.] [The hospital. Frank is in bed, hooked up to a monitor and his pulse can be heard beeping in the background. The screen shows that his pulse rate is jumping from '68' to '73' to '81' to '88.' His blood pressure is '130 / 57.' The beeping gets faster as his pulse continues to quicken.] FRIDAY, 2:22 PM EST [He is having a nightmare and sees several images. He hears screams throughout.] [He sees: a flash of bright white light; several people from the office building as they were hit by shock waves during the bomb blast, including the two women exactly as the bomber saw them with wind blowing through their hair; Jordan, first, normal and happy, then frightened.] [He next sees: Catherine, as she looks normally, then terrified; a blast as from an explosion illuminates her from the right; a blindingly bright white light bleaches out Jordan's image.] CATHERINE: Frank? [He then sees: Jordan turn, smiling, putting out her arms towards him and a flash of bright white light; Catherine's face, a look of worry mixed with fear. He hears Jordan screaming 'Daddy!'] [And finally, he sees: himself, turning to face front, his face bathed in a bright white light, a close up of his wincing right eye; Catherine's face again, frightened; several images of Jordan's face, awash in the bright white light which becomes even brighter, then fades to normal with a sudden brief blast of bright light again.] [His pulse is still quite fast due to the anxiety of the nightmare.] CATHERINE: Frank? [He slowly opens his eyes and his pulse begins to slow down to normal as he sees Catherine sitting on the bed beside him.] CATHERINE: We had such a bad connection on the phone, thought I'd connect with you in person. [Frank smiles weakly and nods his head. He closes his eyes briefly.] FRANK: Jordan? CATHERINE: Amy has her for the weekend. When I got the call I got so scared. I heard you that night, Frank, on the phone. Dr. Bowman says you have a mild concussion. But, it's not your body healing that worries me. It's your spirit. You should know that for every dark soul that you connect with, there is a bright one. The man that pulled you out of the building. [Frank doesn't react.] CATHERINE: He came by to see how you were. [Frank seems puzzled.] FRANK: I don't remember. CATHERINE: He's been on every channel this morning. [she picks up the remote control, turns and aims it at the TV set, clicking through various programs on different channels.] MAN #1: ...49-year-old unidentified man went berserk last night... [Click.] [The TV screen shows a talk show with the hostess standing in the middle of the audience and two guests, a male and female, up on the stage talking.] MAN #2: ...total commitment, I mean, all the time? WOMAN: Total commitment. [Click.] CATHERINE: His name is Raymond Dees. REPORTER: What was your reaction when you saw what you thought was a bomb? [The TV screen shows a couple of reporters trying to interview Dees, the bomber, whom the screen credits as: 'Raymond Dees Hero' in the lower left hand corner. The upper left hand corner reads: 'LIVE Recorded Earlier' and a station logo for Channel 6 is in the lower right hand corner. One of the reporters' microphones has a station ID tag: 'NEWS 10.' The other reporter's tag reads: 'WJPK6.'] DEES: I had a flash of fear like everybody else but I kept my head because I knew I had to get everybody out of there. REPORTER: What would you like to say to whoever did this? [Frank is paying close attention to Dees.] DEES: What I'd like to say, I won't out of respect for the people out there. [Frank sits up in bed and stares at the TV screen as Dees speaks.] DEES: But, I would like him to know that we're not just victims and we will find him. REPORTER: How does it feel to be a star? [The camera moves in for a close up of the Dees' face on the TV screen.] DEES: I just did what anybody else in my place would have done. FRANK: Kaboom. [fade to black] [polaroid fade up] FRIDAY, 11:32 PM EST [back at the Joint Task Force Headquarters. Frank runs a video tape of the news coverage of the bomb scene at The Queen's Arms pub on a TV monitor for Pierson and the others. He fast forwards through the tape till he reaches the part where Raymond Dees is seen trying to get help for one of the victims. He then freeze-frames the video on Dees.] PIERSON: You want to bring him in because he was a hero - twice? FRANK: That's him, I know it. PIERSON: Frank, after Centennial Park, there is no way that I could bring this guy in without more evidence. FRANK: The bomber has expert knowledge in explosive devices. He knows precisely what and how much to use to create the effect he wants. [Another agent brings over a fax and hands it to Watts.] FRANK: There were two explosions today - neither one of which matched the lethal intensity of The Queen's Arms bombing. PIERSON: It was lethal enough to kill five people. FRANK: But not so destructive a person couldn't survive inside of it. Especially if he knew when and how the force would dissipate. Raymond Dees is a maintenance worker in that building. He has the knowledge and the opportunity to place those devices where it would best suit him. He watched the first bombing from a distance. He believed that watching the chaos which he created would be the thrill, but he needed more - to smell it, to touch it, to participate in the aftermath. But that wasn't enough either. WATTS: So, today he placed himself within his created chaos. FRANK: It wasn't enough to watch others. He needed to watch himself. A real star. PIERSON: Are you saying he killed 18 people so he could be on Good Morning America? FRANK: Killing wasn't the motive. It was a by-product of his obsession. [Watts shows Frank the paper.] WATTS: I ran a check on Raymond Dees. He served a stint in the military - Middle East, explosives specialist. [Frank pushes the sheet of paper towards Pierson who takes a look at it. It reads as follows: { Army Emblem } US ARMY EXPLOSIVE DIVISION DATE/TIME 12 / 10 / 85 / 12:37 COMMANDING OFFICER DAY MO YEAR TIME WRIGHT, T.J. NAME: DEES RAYMOND SERIAL # 98470 RANK OFFICER INSTALLATION EGYPT { PHOTO } MEDICAL OFFICER: DR. SAMUEL REED DATE: 12/10/85 MEDICAL EVALUATION {Handwritten and illegible} Pierson looks at Frank and Watts but doesn't say anything.] [several members of a SWAT team break down the door to Dees' apartment and beginning checking the rooms, one by one.] SWAT #1: Exit clear. RADIO: "Red Team confirm, uh, status transmission." SWAT #2: Clear! SATURDAY, 1:13 AM EST [Then Pierson, Watts and Frank enter the apartment.] SWAT #1: Anything back there? SWAT #3: Nothing. RADIO: Uh, Blue Team Leader, we are in position on the main floor. SWAT #2: Bedroom clear, sir. FRANK: He left in a hurry. [some of the members begin searching through items in the rooms. Another member comes up a flight of stairs from below them. Yet another addresses Pierson.] SWAT #4: Nothing down there. SWAT #5: Agent Pierson, you should come in here, sir. There's something I think you should see. [He leads the trio into another room filled with electronic equipment - the same room Dees had been using to listen to police and rescue radio transmissions during the first bombing and when listening to Frank and Pierson during their staged phone conversation.] SWAT #5: This was all on when we came in. [Frank walks up to the TELE COMM receiver and looks at it.] FRANK: He's still listening to us. [On the display, is a cell phone number: '202-555-1367.' Beneath it is the cell location: 'C3633 142.'] FRANK: That's my cell phone number. [Frank looks at Pierson, turns and hits the 'rewind' button on the reel-to-reel audio machine to his right, then presses the 'play' button.] MAN #1: One-Baker-Six, what's your 20? MAN #2: 10-87 at 2-7-3 Lamont Avenue, over. FRANK: He knew we were coming. Could be anywhere by now. PIERSON: At least half of America knows what he looks like. WATTS: Looking at these materials, it's very possible he made another one. [Frank nods, then sighs. He needs to brace himself on the table with his hands, still weak from the recent explosions.] PIERSON: Hey, Frank, you should still be in the hospital. Get the hell out of here. We'll have forensics go through all this evidence. We'll meet tomorrow. [Frank looks to Watts, nods. Watts nods in return.] PIERSON: Go. [Outside, one of the agents drives Frank to a parking lot where Frank has his rental car. He steps out from the car.] FRANK: Thank you. [He waves to the driver, then heads for his car as the agent drives off. He reaches his car, unlocks the door and sits inside. He fastens his seat belt and is about to start his car when the phone rings. He reaches into his pocket for his cell phone, opens it and presses the 'send' button.] FRANK: Yeah. [The same six tones are pressed once again.] [Perspective shifts back to Dees' home and the room with all the equipment. Watts hears the call being made to Frank's cell phone.] FRANK: Raymond? Where are you? [back to the parking lot. A car's headlights are turned on. Dees sits in his car across the parking lot off to Frank's left. Frank turns to look in the direction of Dees' car as the lights are turned off.] DEES: Been waiting on you, Frank. [back at Dees' home, Pierson and Watts move into action, realizing that Frank is in danger. They run outside of Dees' house and inform the other agents of what they've learned.] PIERSON: We have a situation at the parking lot. Block off the access - nobody goes in or out. I want sharpshooters, now! [back at the parking lot: ] DEES: I know, Frank. You probably feel like I feel. [Frank decides not to keep turning to look at Dees' car. He repositions his rear view mirror so that it reflects it instead.] DEES: You can't move and you're just waiting. You know it's going to end, but you don't know how. [Dees can be seen sitting in his car, looking and smirking as he talks on the phone to Frank. He raises his right hand up to the steering wheel, in it is a remote control switch with a button. He presses a switch and a red light turns on. He keeps his finger on the button as he rests the device on the wheel, pointing in Frank's direction.] DEES: I know. [Watts and Pierson arrive in a car with two sharpshooters. Pierson gives them final instructions as they exit the car and move off into position.] PIERSON: The suspect is a man we believe has killed 18 people. You get there, you get a clean shot, you take it. Let's go. MAN: Got it. [Perspective alternates between Frank and Dees and the others throughout the remainder of the scene.] FRANK: Raymond, do you know precisely what happens at the moment of detonation? DEES: You know I do. FRANK: No, you don't. The moment this bomb explodes, you lose your power, you lose your control. Raymond, you're a hero. A star. Are you going to throw that all away? DEES: (interrupts) No! (pause) You're trying to take it away from me. I'm getting it back. And I'll be very clear about something. People will know who I am. [The first sniper moves into position and reports in to Pierson by radio.] [We see through the scope of his rifle which has a night-vision lens. We can see Dees' head and left hand holding the cell phone to his ear.] SNIPER #1: Got a clean profile. [He then moves his rifle over and spots the remote switch in Dees' right hand on the steering wheel which we see through the scope.] SNIPER #1: Wait. He's holding a transmitter in his hand. A muscle spasm might set it off. PIERSON: Then go for the medulla oblongata shot. Take him out. [The sniper moves to find a new position.] DEES: Frank? FRANK: What? DEES: I've seen it. The moment before. Their faces. They're terrified because they don't understand - unlike you, Frank. They don't understand what it is to give yourself over to chaos. But you understand. You've seen it too. I can tell. [The sniper has arrived at his new position. He looks through the scope.] SNIPER #1: B-pillar's blocking my shot. You're going to have to take it, Alpha-2. SNIPER #2: Ten-four. [The second sniper is seen in another location. He looks through the scope of his rifle, resting his trigger finger on the trigger guard.] DEES: It's time, Frank. FRANK: Raymond, don't. [Frank looks at the reflection of Dees' car in the mirror. The transmitter's red light can be seen.] [The sniper moves his finger off the guard and onto the trigger itself.] FRANK: Raymond. [Dees moves his finger as if ready to press the button.] [The sniper takes his shot, shattering the rear window and entering the back of Raymond Dees' head. He slumps forward in his seat, head against the steering wheel. The hand which had been holding the transmitter opens, dropping the device onto the floor. The bullet exits the front windshield.] [At the moment the shot is fired, Frank jumps at the sound and drops his cell phone. He looks over at Dees' car and let out a deep sigh, then rests his head back against the car seat.] [Later that night, the bomb squad has just finished checking both cars for explosives.] WATTS: Frank. We checked it over twice. No sign of explosives in either car. FRANK: He told me he knew how it was going to end. He controlled the whole thing right from the start, including the method of his execution. He was right, he got it all back and we helped him. People are going to know his name. [The press is out in full force as they get ready to report on Raymond Dees' death. A news van from WJPK, Channel 6 is on the scene. A reporter prepares to give a live report. Others rush to film footage in front of Dees' car.] REPORTER: Are we on yet? Are we on? Okay. Okay, I'm running. TECH: We're up. Go. go. [Frank and Watts walk past all of this and step over yellow police 'DO NOT CROSS' tape.] REPORTER: And the violence that began 75 hours ago ends in violence tonight as the suspect, Raymond Patrick Dees, was shot and killed by police sharpshooters. [Frank and Watts walk past Dees' car. He can be seen still seated in the car. A white sheet has been placed over his body and covering his head. The film crew from WFTN is shooting the footage.] REPORTER: The alleged bomber, a maintenance worker in the Hadden Tower, the site of this morning's bombing... [The scene dissolves from a live shot to an image on a TV screen as it airs live as part of a TV news broadcast with the reporter continuing with his coverage of the shooting. The screen shows a close up of Dees slumped over the steering wheel with the white sheet covering his head and the bullet hole that has shattered the windshield. The screen has the station logo: 'WFTN LIVE 8' in the lower right hand corner. The words: 'Raymond Dees' in the lower left hand corner.] REPORTER: ...was heralded as a hero as he pulled victims out of the blast area and into safety. [The image on the TV screen changes to one of a close up of Dees as he was interviewed on TV following the explosion at the office building.] REPORTER: With his death, the reasons behind the bombings may never be known. [Camera zooms in for an extreme close up as it fades to black.] [fade to black] [end titles] Terry O'Quinn (Peter Watts) Brittany Tiplady (Jordan Black) Guest Starring Sam Anderson (Agent Jack Pierson) Robert Lewis (Agent Sullivan) and Joe Chrest (Raymond Dees) Co-Starring Hiro Kanagawa (Agent Yung [Takahasi]) William McDonald (Agent Nolan) Roger Barnes (Agent Smith) Deryl Hayes (Officer Mark Stanton) Mike Killeen (Reporter #2) [Ed Striedinger] (Agent Mills) [Claudine Grant] (Agent Wallace) [Peter Bryant] (Officer Riley) Story Editor: Charles Holland Music by Mark Snow Editor: Chris Willingham A.C.E. Production Designer: Sheila Haley Director of Photography: Robert McLachlan Associate Producer: Jon-Michael Preece Consulting Producer: Ted Mann Consulting Producers: James Wong & Glen Morgan Co-Producer: Ken Dennis Co-Producer: Chip Johannessen Co-Producer: Frank Spotnitz Co-Executive Producer: Jorge Zamacona Co-Executive Producer: Ken Horton Co-Executive Producer: John Peter Kousakis Written by Glen Morgan & James Wong Directed by David Nutter Executive Producer: Chris Carter Edited January 1, 2006 by Libby Link to comment Share on other sites More sharing options...
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