PROFILER 1X04: I'LL BE WATCHING YOU ORIGINAL AIR DATE ON NBC: 10/26/1996 TRANSCRIBED FROM COURT TV Written by: LAWRENCE HERTZOG Directed by: JOHN HARRISON Transcript by Intrepid Courtesy of http://www.webphilia.com/~anthology/wnp.html Please do not archive this transcript without permission from the Transcriptionist. RATING: TV-14 ========================== DISCLAIMER: ========================== "PROFILER" and other related entities are owned, (TM) and (c) by 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 in tact 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.webphilia.com/~anthology/wnp.html Contact the Transcriptionist at (intrepidly002@yahoo.com) ========================== SUMMARY: The team is called in to investigate death threats made to a Senator only to find a dead body which leads them hot on the trail of a stalker. Jack sends a message to Sam through a dedication line at a local radio station. ========================== PROFILER 1X04: I'LL BE WATCHING YOU ========================== FADE IN. [Cue song, "Every Breath You Take"] (Camera opens on a blonde-haired doll.) (Various quick cuts of: A PERSON straps on a belt with a lot of snaps and buckles on it. He puts on his gloves, then pulls out a video screen.) (On the screen is a music video.) (He watches the video intently as he slow dances to the music.) (The door opens.) (The MAN turns around, his concentration taken away from the video monitor. Through the door he sees the speech platform. He hears crowds cheer.) (In the background, we hear the voice of a MAN making a CAMPAIGN SPEECH.) (The tip of a rifle pokes through the hole to take aim at the platform.) (He squeezes the trigger.) (The gun fires.) WHITE FLASH TO: END OF TEASER ROLL TITLE CREDITS FADE IN. [EXT. BEACH COASTLINE (STOCK) -- DAY] LEGEND: MIAMI, FLORIDA [EXT. STREET -- DAY] (A police escort passes BAILEY, SAM and JOHN.) BAILEY: Ok, major heads-up. (He turns and leads them toward the building.) BAILEY: We're going to have everyone up to and including the United States Congress breathing down our necks. Hunt's the golden boy, their bid for the youth vote. JOHN: He's got good teeth. I'll give him that. SAM: Caps. BAILEY: Make all the jokes you want. Just remember this is high-profile stuff, all brought to you by the good folks who cut our checks. JOHN: Wow. If we're good, maybe they'll fix the coffee machine in the lunchroom. (JOHN glances at SAM.) (They all walk out of camera frame.) CUT TO: [FRONT OF HOTEL] (The police escorts stop at the lobby of the hotel.) RICK HAVLOVICH: Hey, Malone. I'm glad it's you. (They shake hands.) Senator Hunt, Bailey Malone. SENATOR HUNT: Thanks for coming. Doesn't look good. SAM: If we could get up into the spotlight booth and have a look around while it's still fresh-- SENATOR HUNT: Sam Waters, right? SAM: You've done your homework. SENATOR HUNT: If you were caught in someone's cross hairs, wouldn't you? SAM: I suppose I would. SENATOR HUNT: I told them we needed the best down here. It looks as if they took me seriously. SAM: Well, I'll take that as a compliment, Senator. SENATOR HUNT: It was meant as one. (They walk out. JOHN and SAM linger.) JOHN: Talk about being caught in somebody's cross hairs, huh? Conservative lady-killer. SAM: For a fleeting second there, I had the feeling that Nixon was misunderstood. (SAM leaves. JOHN follows.) CUT TO: [INT. BELOW STAGE -- CONTINUOUS] (JOHN climbs down the stairs. He looks around.) JOHN: Doesn't look like this place has been used in years. RICK HAVLOVICH: That's pretty much true. They used to run the projection and lighting systems from this area, but everything's computerized now, moved downstairs. (JOHN looks through the projection hole at the stage platform below.) RICK HAVLOVICH: When one of the maintenance engineers failed to show up, we swept the place looking for him. This is what we found. (They see the blankets and supplies.) BAILEY: Looks like he was planning on being here for a while. JOHN: Fletcher-gale rifle mount. At least he's a serious shooter. (SAM climbs down the stairs into the projection booth.) RICK HAVLOVICH: What's serious is we've only got three days. JOHN: You dust for prints? RICK HAVLOVICH: Clean. BAILEY: You said the locks were jimmied. RICK HAVLOVICH: You can only work them from the inside now. BAILEY: But no marks on them. RICK HAVLOVICH: None that we could find. BAILEY: Photographs? RICK HAVLOVICH: Prints will be at your office by the time you get back. What's this guy's M.O.? JOHN: Listen, I can't give you that much at this time. We're going to need some more information on this. (SAM kneels down and looks at the bedding and supplies with special emphasis on the vegetables.) (Quick flashes of: The SHOOTER cuts the vegetables using a knife. His hands are gloved. End of flashes. Resume to present.) (She stands up and walks over to look at the BARBIE doll.) (Quick flashes of: The BARBI dolls with its eyes blackened out. End of flashback. Resume to present.) (SAM looks around and sees the wall.) (Quick flashes of: The SHOOTER rests the tip of his gun against the wall. End of flashback. Resume to present.) SAM: Any forensics on the walls or floors? RICK HAVLOVICH: Just the routine: Some hairs, fibers. We're running them now. Why? SAM: Have them check for powder in this area. RICK HAVLOVICH: Do you think he fired from here? SENATOR HUNT: Why would he do that? SAM: Given what I'm seeing, it would make sense. BAILEY: Forensics will be able to confirm it. RICK HAVLOVICH: We didn't find a gun. (SAM shakes her head.) SAM: No. He took it with him. CUT TO: [TUNNEL LEADING TO ARENA] (SAM and the others walk out through the tunnel into the main arena.) SAM: Something happened up there that made him blow the game and veer off course. This is a man who is very obsessive about everything that he does. I mean, even the way he eats. He's a health nut, a body freak. He's very dedicated and very careful. He ... He doesn't leave marks on locks, he doesn't leave his fingerprints. JOHN: Then after all that, he leaves before finishing the job. (SAM turns to look at them.) SAM: Well, shooters build their fantasies very much like serial killers. A man like this would go over every detail of his plan again and again ... so that by the time he got to that room, he's built it up so much, the fantasy has become so real for him - BAILEY: That he can't wait, and he explodes before he's ready. JOHN: He should have tried thinking about baseball. SAM: If something unexpected happened while he was up there, once he realized what he'd done, he would have no choice but to run. RICK HAVLOVICH: We were figuring that he might come back. SAM: No. Then he would have left the gun. Security's only going to get tighter in the next couple of days. No. He was here, and he blew it. He's not coming back. (They make their way to the front of the arena toward center stage.) RICK HAVLOVICH: Well, where do we go from here, guys? Monday's right up my dress. BAILEY: Any chance of rescheduling? SENATOR HUNT: We're a long-shot party, Mr. Malone. In political parlance, the underdog. We either raise $8 million over the next six weeks or fold up our tents. I can't cancel. SAM: He's not giving up, but he's done here. RICK HAVLOVICH: How can you be sure about that? SAM: Because he's a planner, and he's thorough. This is not a stupid person. BAILEY: He managed to get past security and short-circuit the alarm system. SENATOR HUNT: What you're saying is he's a complete wild card now, that from now on, wherever I go, I'm going to have to be looking over my shoulder at every little shadow, every little thing that moves just a little too fast? SAM: Well I'm afraid so, yes. But you do have a good security team backing you up. SENATOR HUNT: That's not going to make it easier to sleep at night. SAM: I know. (An AGENT peers out from behind the curtains.) MAN: Hey, Rick, we found something. (They all head for back stage.) AGENT: It's blood. Someone made an effort to wipe it up. Forensics is on the way. (SAM looks down at the blood drop, then looks up where she sees the body hanging from the ropes above.) RICK HAVLOVITCH: Oh, my god. (Quick flash to: The DEAD BODY hanging from the ropes. End of flash.) CUT TO: [INT. FBI - VCTF - COMMAND CENTER - DAY] (JOHN updates everyone on the identity of the body.) JOHN: The dead guy's name is Paul Bilsky. Grace pulled a .223 ruger slug out of him. He worked as a maintenance engineer for the last eight years. Bilsky's the guy they were looking for when the found the shooter's nest. BAILEY: No chance he's who the shooter was after? SAM: No. It's very unlikely. If you wanted to get a guy like this, you could do it at his house or a parking lot. It wouldn't involve all the detail and planning we've seen here. No, I think that Mr. Bilsky was just in the wrong place at the wrong time. (Cut to: JOHN, BAILEY and SAM walk out of the COMMAND CENTER.) JOHN: No prints, hair analysis confirms white male, struck out on fiber, and nothing in the health food except for ... health food. BAILEY: What were you expecting, John, ketchup? JOHN: You ever taste that stuff? BAILEY: Ketchup's what I'd do. We've got a "known associates" on Hunt coming in from Havlovitch: People he works with, friends, family. JOHN: Who else is scheduled to appear monday night? BAILEY: Usual hand-wavers: Mayor, state party chairman. They're also working on bringing in some rock performer. Anything to grab the under 40s. No final decisions on who yet. (BAILEY turns around to look at SAM.) Anything else we can add to the profile beyond the book? SAM: Well, he's anal retentive about what he does. Look at the way he cuts the vegetables. Probably asks a million questions about quality, freshness of ingredients, might count his change two or three times just to make sure, that sort of thing. We should also check the gyms. JOHN: Muscle boy. SAM: Well, he worries about what he puts into his body. It's worth a shot. (SAM leaves. JOHN looks at BAILEY, then leaves also.) JOHN: I'm on my way. (BAILEY heads back to the COMMAND CENTER, then changes his mind, turns around and follows SAM.) CUT TO: [SAM'S OFFICE -- CONTINUOUS] (BAILEY walks into the office. SAM looks up from the file she's reading.) BAILEY: Tough one. He's thorough ... clean. (BAILEY sits down on the couch. SAM sits down behind her desk.) SAM: Yes, he is. BAILEY: Is it personal? Does he hate Hunt, or does he hate what Hunt stands for? What's the obsession about? SAM: For all we know, he could admire Hunt. What is any obsession about? There are as many answers to that as there are heads to dream them up. BAILEY: The senator, his wife, kids, must be crawling out of their skins. SAM: It's hard to explain to people what it feels like to know that you're being watched ... that every move is being studied. It's like being a ball in somebody else's and you don't even know what the game is. (BAILEY knows that they're not talking about the SHOOTER anymore.) BAILEY: (quietly) We'll get him, Sam, eventually. SAM: I know, Bale. It's just that sometimes 'eventually' ... can feel like a very, very long time. DISSOLVE TO: [INT. JACK'S PLACE - DAY] (JACK exhales a stream of smoke.) D.J.: (from radio) It's currently 69 degrees at 8:00 on WAJB, the mid- Atlantic's all love station. We'll be taking your calls for the next two hours, so if there's someone special in your life, now is the time to let them know. (Camera moves from the radio, to the phone, to photos of SAM. In the background, we hear the busy signal on a phone.) [Radio playing "Stranger on the Shore"] (JACK presses the button on the phone to hang up, releases it, then dials the radio station. He hangs up, then reaches for a baby photo of SAM.) JACK: Sam ... you were always so beautiful. (He presses the photo to his lips, kissing the picture of SAM.) (He pours himself a drink. He picks it up with his gloved hand, rubs the glass against his lips, then drinks.) (He puts the glass down, then picks up his cigarette. He tries the phone again. He dials: 555-4978. The phone rings.) D.J.: Thank you for calling WAJB, and what is your message to your special someone? (He dips his finger into his drink and uses the liquid to finger paint color onto a drawing of SAM.) DISSOLVE TO: [INT. SAM'S RESIDENCE - NIGHT] (SAM sits on the couch thinking. Outside, we hear thunder rumbling and rain falling.) (SAM holds up the doll.) SAM: What do you make of this? ANGEL: Aren't you a little old to be playing with dolls? SAM: Hmm. ANGEL: I think she could use the name of a good ophthalmologist. SAM: He's trying to tell us something, but what? (Quick flash to: The SHOOTER uses a drill and drills out the doll's eyes. End of flash. Resume to present.) SAM: I mean, why does he cut out the eyes? ANGEL: Maybe he wants her blind or something. SAM: Maybe. Or maybe he thinks she is blind to something, that there's something she's not seeing. He's drilled out the eyes with some sort of a twisted respect. Grace said that he must have used a surgical drill tip because it's very precise, very careful. ANGEL: I guess when I studied art therapy, we must have skipped the chapter on serial lunatics. SAM: And yet you still managed to graduate with honors. ANGEL: Yeah, but I chose to work with kids, and if I screw up and let a few slip through the cracks, you have to finish the job. (They smile at each other. SAM gets to her feet.) SAM: Do me a favor. Don't screw up. (CHLOE comes running down the hallway into the room. She stops in front of her mom.) CHLOE: Mom, guess what Tommy Hellstrom's bringing in tomorrow. SAM: Well, let's see. Um ... an airplane? CHLOE: No. You can't bring an airplane to school. They're too big. SAM: Oh, right. Uh ... a frog? CHLOE: No. A chameleon. SAM: A chameleon? That's terrific, Chloe. CHLOE: Mom ... what? What's a chameleon? SAM: Well, a chameleon is a little lizard. And you know what the little lizard does? He changes colors. CHLOE: Cool. Why? SAM: Well, he changes colors so that he can hide from other animals. CHLOE: I can't wait. SAM: You know, the sooner you go to bed, the sooner morning will come, so what do you say we go tuck you in, ok? (She kisses CHLOE.) SAM: Go give Angel a kiss, all right? (CHLOE runs off toward ANGEL.) CHLOE: Night, Angel. ANGEL: Hey. Good night. Sleep well, sweetie. Night. CHLOE: Mom, if we have to hide, could we change colors? SAM: I don't think you'd look as cute as a purple person, Chloe. CHLOE: Ha ha! SAM: Come on. Let's go to bed. (SAM picks up CHLOE and heads out of the room.) CHLOE: Yeah. SHORT TIME CUT TO: [LIVING ROOM] (SAM sits at the table. ANGEL walks into the room carrying two wine glasses. She gives one to SAM.) ANGEL: Speaking of changing colors, after today, you've turned a very interesting shade of pale. SAM: Maybe Chloe's right. Maybe it would be better if we could just blend in and hide. ANGEL: Naw, you're not wired for that. You are too dedicated to what you do. SAM: Some people might call it obsessive. ANGEL: Look, artists and poets can be obsessed about their work. SAM: I know. Just makes me think what a thin line we walk sometimes. (The phone rings. SAM stands up to answer it.) SAM: Uhh. Ahem. Hello. INTERCUT WITH: [INT. FBI - BAILEY'S OFFICE - NIGHT] BAILEY: I hope you're wearing reversible pajamas. SAM: Why? What's up? BAILEY: Our boy's at it again SAM: The Senator? BAILEY: No, he's fine. I'll explain when I get there. Be ready in twenty minutes. (He hangs up.) CUT TO: [EXT. CEMETARY -- NIGHT] (The car pulls up and stops. SAM gets out of the car where she sees that they're at a cemetery.) SAM: You always take me to the nicest places. BAILEY: I read it in a book: How to Impress Girls. SAM: Mmm. What chapter are you on? BAILEY: Preface. (They walk up to the headstone decorated with dozens of naked Barbie dolls with their eyes drilled out. The headstone is for someone named NASH, DEAN. The front of the stone is defaced with the words, "ONLY YOU ONLY ME" painted in red.) (SAM stares at the headstone.) (Quick flash to: The words on the stone and the Barbie dolls. A shadowy figure walks up behind it. End of flashback. Resume to present.) (Hold on SAM appearing disturbed by the sight.) FADE OUT. (COMMERCIAL SET) FADE IN. [INT. FBI - VCTF - COMMAND CENTER -- NIGHT] (BAILEY and SAM are back at the VCTF.) BAILEY: What about political associations, fringe groups? JOHN: None that we can find. Nash was a high school football star, straight shooter. Never made the college draft, ended up managing an appliance store in Torrington. SAM: How did he die? JOHN: He was taken out by a drunk driver on the 301 coming back from a convention in Lauderdale. He was 30. SAM: Did we talk to the family? (JOHN flips through the photos on the monitor.) JOHN: It's on its way in. So far, all preliminaries add up to zero. Oh, we did find some clean footprints, size 7, Florsheim. Small shoe, popular brand, but we're checking on it. Grace hasn't been able to find anything on the dolls. SAM: Wait, John. Go--go back. (JOHN goes back several photos to stop at the print.) (SAM stands up and walks over to the monitor.) SAM: Look at the distance between his footsteps. He has a short stride. That would explain the dolls. JOHN: You want to tune that in for those of us who don't get cable? SAM: Well, he's short, John. That's why all the dolls and the women in his pictures, they're all sitting down. JOHN: Short? You're talking major vertically challenged? SAM: No, just shorter than average, probably 5'5", 5'6". He wants to control women. And in order to do that, he needs to get them off their feet, sitting down. JOHN: Looking up at him. SAM: Yeah. BAILEY: This fits with the body freak profile: Eats health food, works out to compensate for something he doesn't have. JOHN: Height. SAM: This isn't just about the Senator. This guy's fantasy is full-blown. I think the Senator is just the top of his list. JOHN: Hunt's got an appearance this afternoon. BAILEY: You should be there, John. You've got a lot better handle on what we're looking for than Havlovitch's people. (JOHN stands up and leaves.) JOHN: Later. (SAM turns around to look at BAILEY.) CUT TO: [EXT. SOUTH BEACH MEMORIAL HOSPITAL -- DAY] (SENATOR HUNT talks with JOHN.) SENATOR HUNT: There's something you're not telling me, grant, or you wouldn't be here. JOHN: It's just precautionary, Senator. They sent me because I got experience dealing with these kind of people. SENATOR HUNT: Come on, John. I can make a phone call if I have to. JOHN: May we? (They step aside.) JOHN: This guy could be here, Senator. He gave us a little demonstration at a cemetery outside of Torrington. We're just concerned that he's in an excited phase. Sending me is just an extra heads-up, that's all. SENATOR HUNT: You any closer to getting this guy? JOHN: That's how it works with these guys. Every time they show their hand, we get a little bit closer. SENATOR HUNT: Great. Too bad we're not playing horseshoes. SHORT TIME CUT TO: [SOUTH BEACH MEMORIAL HOSPITAL - DAY] SENATOR HUNT: (speech) I guess it ends up as always ... it's our choice. (The crowd applauds lightly. JOHN keeps his eyes on the crowd.) SENATOR HUNT: (speech) We can spend the next four years complaining, or we can invest and participate in the government we ought to deserve. Most of you here have families, and, like me, you are concerned about the issues that concern your family. (JOHN sees him: a MAN in a sweatshirt jacket with the hood over his head and wearing sunglasses.) SENATOR HUNT: ( speech) Are your children safe in their schools? On their way home to and from school? Are you and your husband feeling confident about your financial future? (JOHN makes his way toward the man.) SENATOR HUNT: (speech) Are you strangled by taxes and bureaucrats ... JOHN: Excuse me. SENATOR HUNT: (speech) Who are more interested in getting re-elected than they are in really making a difference ... JOHN: Excuse me. Excuse me. RICK HAVLOVICH: (to radio) By me, guys. (HAVLOVICH takes off to help JOHN.) (JOHN turns around in time to see someone in the crowd put a hand in his jacket pocket. JOHN tackles the man. WOMEN in the crowd scream. The security agents tackle the man.) MAN: You guys are going to hear from my lawyer. (HAVLOVICH searches the MAN and takes out a tobacco tin.) RICK HAVLOVICH: Fine. Have your people call my people. MAN: Yeah. How about that? (JOHN turns around to look back at the last place he saw the hooded man. He sees nothing.) SENATOR HUNT: (speech)...To live our lives as we see fit. So it is up to you. You have the power to decide. FADE OUT. (COMMERCIAL BREAK) FADE IN. [INT. FBI - SAM'S OFFICE -- DAY] (BAILEY walks into SAM'S office carrying a cup of coffee. SAM groggily raises her head from the desk.) SAM: Hi. BAILEY: Coffee. (He puts the cup on the desk in front of SAM and takes a seat.) SAM: Ugh. Thanks, but ... I've got more caffeine in me right now than red blood cells. BAILEY: I just heard from John. They had a little excitement during the Senator's speech. SAM: What, did they get him? BAILEY: Mm-mmm, no, but they may have landed a lawsuit. Took the wrong guy down. SAM: Ha. It's like fighting smoke sometimes. BAILEY: We eventually catch up to the fire. SAM: Fire burns, Bailey. BAILEY: Having second thoughts? SAM: And third and fourth. But, you know, each time we catch one of these people, I feel like ... I don't know. Maybe it just restores my naiveté that the world can be a better place if we just keep pushing hard enough. You know? BAILEY: You really believe that? SAM: Yeah. At least, I feel it. BAILEY: That makes two of us. (SAM reaches for the cup of coffee.) SAM: If I end up on the ceiling, just ... leave me there, ok? (They share a laugh. The intercom beeps twice.) INTERCOM: Bailey, could you come down here to audio? Something just came in. CUT TO: [AUDIO] (SAM and BAILEY listen to the audio recording.) MAN (JACK): (from tape) Everywhere, Sam. Everywhere you go, I am. Every thought you think, I'm in. BAILEY: It came in from Quantico. It was recorded off a Maryland radio station. One of the SACS at the field office heard it, thought we should listen to it. MAN (JACK): (from tape) ...Your breath. I am in the wind ... everywhere. SAM: Turn it off. (The cell phone rings. BAILEY answers it.) BAILEY: Malone. (pause) Thanks. (He hangs up.) BAILEY: Body freak's at it again. CUT TO: [INT. VALENTINE'S RESIDENCE -- DAY] (The METRO FIRE RESCUE wheels out an old man on oxygen on a gurney. BAILEY and SAM walk into the house.) DETECTIVE: Malone. Sam. It's weird, huh? (After introductions, SAM looks around the room. There are naked Barbie dolls all over the room.) DETECTIVE: He's a shrink. He's been living here since '86. Paid his bills, kept the peace till today. Someone cut him up pretty good and left him for dead. BAILEY: Do they think he'll make it? DETECTIVE: It's touch and go. He's unconscious, can't tell us a thing. From the looks of it, whoever it was came up behind him. He never saw it coming. Neighbor next door heard a racket, called us. We saw these dolls, we called you. BAILEY: Thanks. (SAM looks around the room.) (Quick flash to: Flashes of the writing on the headstone: Only me, Only You. End of flashback. Resume to SAM.) SAM: He's getting sloppy. Where is the writing: "Only you, only me"? (BAILEY sees the computer. SAM turns around and looks at the monitor with the smiley face screen saver on it. BAILEY presses a button and pop-up writing appears on the monitor: "Only you, only me". Over and over again. Finally the screen blanks and the message remains in blood red: "Only you, only me". The letters drip down the screen. BAILEY: I'll work the doctor's name in with Nash and the Senator. Might connect the dots. CUT TO: [EXT. OUTSIDE VALENTINE'S RESIDENCE -- DAY] (SAM and BAILEY walk outside.) SAM: The connection between Hunt, Nash, and Valentine has to be a woman. That's who these dolls represent. BAILEY: Get into Valentine's patient list, run his female practice. SAM: You find her, you'll find the connection. (As the medics close the back of the ambulance, SAM and BAILEY walk off screen. ) CUT TO: [INT. SAM'S PLACE -- NIGHT] (SAM listens to the tape recording.) MAN (JACK): (from tape) Everywhere, Sam. Everywhere you go, I am. (CAMERA ON LEGS OF A MAN as he walks into the living room.) INTERCUT WITH: (SAM as she continues to listen to the tape unaware of her house guest approaching her.) MAN (JACK): (from tape) Every thought you think ... I'm in. I am...you look in every shadow. Your breath ... I am in the wind ... everywhere ... everywhere, Sam. (SAM looks up and gasps at the shadow of a MAN standing in the back of the room.) SAM: Ohh! (BAILEY steps out into the light.) BAILEY: I'm sorry. SAM: You scared me to death, Bailey. (He holds up a file folder.) BAILEY: Angel let me in. SAM: Oh, right. It's ok. SHORT TIME CUT TO: [LATER] (SAM puts a cup in front of BAILEY. She sits down.) SAM: Bailey, do we know where the call came from? BAILEY: From Maryland, one of the station's local lines. Why? SAM: There's a church I knew as a child. I was baptized there. Christ King Church. It, um ... it had very distinctive chimes. We should probably have the Silver Springs Field Office call and check and see if I'm right. I'm sorry. You probably didn't come over here to talk about church bells. (BAILEY opens the file folder and shows it to SAM.) BAILEY: We found the missing link in our case. CUT TO: [MUSIC VIDEO] (On the screen, SAM and BAILEY watch the latest Morissa music video.) SAM: Morissa? BAILEY: She was a patient of Dr. Valentine'S. She used her given name Jill Morrison. SAM: Well, what about Nash? BAILEY: High school sweetheart. She was a freshman. He graduated a few years earlier. Lasted about two years, then fizzled. Her life went up, his went down. SAM: So what's the connection to Hunt? BAILEY: Morissa's going to open the fund-raiser tomorrow night just before the senator gives his speech. SAM: Morissa opening a conservative fund-raiser? BAILEY: Party's bid for the youth vote. They made the deal this morning. (SAM stands up and walks over to the television set.) SAM: Then he would have had to know they were in negotiations, or he wouldn't have set himself up in that spot. BAILEY: We're going through everyone that even knew the deal was being considered, on her side and Hunt's. It's been in the works for over a month. (SAM thinks about it.) (Quick flashes of: The music video and of the STALKER drilling holes in the Barbie dolls' eyes. End of flashes. Resume to SAM.) SAM: Well, Bailey, maybe this is what the eyes have been about. All this time, he's been working his way up to her. (She turns to look back at the music video.) FADE OUT. (COMMERCIAL SET) FADE IN. [EXT. MORISSA'S RESIDENCE -- DAY] (BAILEY looks out at the mansion grounds. He turns and walks back to the car toward SAM.) BAILEY: She's 28 years old, and she owns this place. SAM: Mmm. Her pension plan is probably better than ours, too. BAILEY: When I was 28, I shared an apartment. SAM: When you were 28, you didn't have a madman stalking you, so I guess it all evens out in the end. BAILEY: I guess. (Behind them, the white limo pulls up the drive. SAM and BAILEY walk over to meet it.) (The Chauffer gets out of the car and opens the back door. MORISSA gets out of the car.) MORISSA: So, uh, you the G-men? (She sees SAM.) Oh, G-people. Sorry. BAILEY: I'm Bailey Malone. This is Sam Waters. (She shakes BAILEY'S hand.) MORISSA: I love the smell of old spice in the morning. (BAILEY smiles and nods.) BAILEY: You hear the news about Dr. Valentine? MORISSA; Yeah. I just found out. Is he going to make it? BAILEY: He's in intensive care, but stable at the moment. MORISSA: My manager told you that someone's been stalking me. BAILEY: That's why we're here. MORISSA: You think it's the same guy? BAILEY: We'll have a better idea when we have a look inside. (MORISSA turns and heads into the house.) CUT TO: [INT. MORISSA'S RESIDENCE - LOBBY - DAY -- CONTINUOUS] (They walk into the house.) SAM: Morissa, how long has the stalking been going on? MORISSA: Three weeks. I don't know. A month. But I'll telling you, whoever this nut case is, it's like he knows everything I do, like he watches me. And two nights ago, when I walked through my front door, I realized he'd been in my house. Enough is enough. I split. BAILEY: What did the police have to say? MORISSA: Cop talk 101. Nothing. (She opens the door to the basement.) BAILEY: After you. MORISSA: You're not afraid of the dark, are you? BAILEY: Depends on who I'm in it with. MORISSA: Ooh. One point for the government guy. (MORISSA and BAILEY walk down the stairs to get to the bottom room. SAM takes her time and looks around the walls in the dark stairway.) (Quick flash to: The STALKER walks through the stairs holding a flashlight above him to light his way. End of flash. Resume to present.) (At the end of corridor is a locked door. MORISSA uses the key to unlock the door.) SAM: You always keep this door locked? MORISSA: Yeah. SAM: What's in there? MORISSA: My wardrobe, everything I wear. (Quick flash to: The STALKER unlocks the door. End of flash. Resume to present.) (She unlocks the door and opens it. Inside, we hear her music.) MUSIC: Every breath you take / every move you make... MORISSA: I don't know how the son of a bitch rigged this up, but he did somehow. (She opens the door and they walk inside.) MUSIC: Every step you take / I'll be watching you / every single day / every word you say, baby ... (She turns the lights on.) (Inside, hanging from the walls are naked Barbie dolls. It surprises SAM who stands in the middle of the closet.) MUSIC: Every game you play / every night you stay / I'll be watchin' you (BAILEY looks down at the floor.) BAILEY: Sam. (SAM looks down and sees the message written in red: ONLY YOU ONLY ME.) MUSIC: Oh, can't you see / you belong to me? / And my poor heart aches ... CUT TO: [INT. MORISSA'S RESIDENCE - LIVING ROOM -- DAY] (MORISSA leads BAILEY and SAM back out across the living room.) BAILEY: We understand that you've made arrangements to appear at the fund- raiser this evening. It would be a good idea if you canceled. (MORISSA sits down on the couch.) MORISSA: Oh. Well, that's pretty short notice. BAILEY: The man we're after didn't leave an itinerary. (BAIELY takes a seat.) MORISSA: You really think that this guy has the guts to try something at the rally? (SAM sits down.) SAM: Look, it would just be safer for you and for everyone else at the event if you would cancel your performance. (She hesitates.) SAM: Morissa, we're trying to catch a man who has already murdered one person and has attempted to murder another. It would be safer all around if you would cancel. MORISSA: I'm out. So now what? BAILEY: Your manager told us that you received some mail and gifts from this man. MORISSA: Right. The cops have it. BAILEY: I'd like to send someone over to get them. MORISSA: Great. You want it, it's all yours. I don't care. CUT TO: [EXT. MORISSA'S RESIDENCE - FRONT YARD -- DAY] (SAM walks with MORISSA while BAILEY lingers behind.) SAM: Morissa, this man is in an extremely excited phase right now, and I'm not sure that your private security is enough, so if you would like, we can arrange a place for you just until this is over. MORISSA: What do you mean, like a safe house? SAM: Just until we catch him, yes. MORISSA: Yeah, right. I'll end up staring at crummy wallpaper all day. Sorry. No, thanks. You, uh--you are going to get this guy? SAM: Yes. I just can't tell you when. BAILEY: If anything else happens, give us a call. (BAILEY and SAM walk away. MORISSA turns around and stops him.) MORISSA: Hey, Old Spice. I may call you even if nothing happens. (BAILEY smiles. He and SAM turn around and leave.) SAM: You're so good with kids. FADE OUT. (COMMERCIAL SET) FADE IN. [EXT. BUILDING (STOCK) -- DAY] [INT. FBI - VCTF -- BAILEY'S OFFICE - DAY] (BAILEY hands the letter in an evidence bag to SAM.) BAILEY: Here are the things Morissa sent over. This paper he wrote to her on is stock-issue xerographic stuff. No watermarks, no fingerprints. SAM: You knew there wouldn't be. BAILEY: I'm always hopeful. He also sent flowers, always hand-picked, wild, so there are no florist receipts, nothing. (JOHN walks into the office.) JOHN: I leave for two days, and you guys are still in here looking at pictures? I just got off the horn with Havlovitch. So, Morissa canceled her appearance. I guess it'll be security as usual, and the nation can rest easy. BAILEY: Well, the nation's still got a maniac killer on their hands. JOHN: Any luck on the doll angle? BAILEY: We've got Sam's profile out to every toy dealer in the city. JOHN: Sure would be nice to get our teeth into this puppy before he makes another move. By the way, this came over the wire on the way in. (JOHN hands a note to BAILEY. He looks at it. Suddenly, everything is darker, more serious.) BAILEY: You were right about the church. (He hands the note to SAM.) (Quick flashes of: The audio tape. A newspaper clipping with the headline: JACK OF ALL TRADES STRIKES AGAIN. Taking off latex gloves off a hand. A small photo proof of SAM. End of flashes. Resume to present.) BAILEY: I'll have the plane ready in a half-hour. (SAM looks up at the note and nods.) CUT TO: [EXT. CHURCH -- DAY] LEGEND: SILVER SPRING MARYLAND (They drive up the driveway toward the church. The church bells toll.) (The cars park. SAM and BAILEY exit the first car while AGENTS exit out of the second car. SAM looks around at the church.) BAILEY: He set this up, Sam. He wants this reaction. SAM: I know. CUT TO: [TOYSTORE] (JOHN bursts into the toystore. He meets up with the DETECTIVE there.) DETECTIVE: According to the owner, there's a stocking clerk working here that fits Sam's profile to the punctuation. JOHN: Did you talk to him? DETECTIVE: No. He was out to lunch when we got here, but he's been back about 20 minutes. Name's David Trent. He's only been here about three months. JOHN: Let's take a look at him. CUT TO: [CHURCH] (The doors to the main hall open and the AGENTS walk inside. BAILEY and SAM follow. BAILEY instructs the AGENTS.) BAILEY: Cover the back and the cellar. We'll take upstairs. AGENT: Yes, sir. Bob, you come with me. AGENT: Yeah. You want me to take right? (SAM steps forward and looks around.) CUT TO: [BACK OF TOYSTORE] (The DETECTIVE shows JOHN the backroom where DAVID TRENT stays. The entire bedding and set-up looks similar to the one found at the back room at the arena.) JOHN: Yeah. This looks familiar. CUT TO: [CHURCH] (SAM walks up the stairs at the back of the church. She looks around. When they reach the second floor, she sees something.) (On the table near the window is a table with a tape recorder and other symbolic items placed carefully for her to find. She lightly touches her baby photo.) (Quick flashback to: SAM sees JACK picking up the photo and placing a kiss to the picture. End of flashback. Resume to present.) (BAILEY steps up nearer to her.) (SAM turns the tape recorder on.) MAN (JACK): (from tape) Everywhere, Sam. Everywhere you go, I am. Every thought you think, I'm in. I am ... you look in every shadow. (The church bells toll.) CUT TO: [BACK OF TOYSTORE] (JOHN takes out his gun and listens carefully.) JOHN: Trent? (There's a loud clanging noise from above as someone runs across the grating.) JOHN: Freeze, Trent! (JOHN runs up the stairs.) JOHN: I got him on top! (Still, the person runs on the grates above.) FBI AGENT: Coming your way! (DAVID TRENT knocks some boxes over and jumps down. He takes off running.) JOHN: Hold it! (JOHN and the AGENT takes off after him. DAVID TRENT squeezes out under the crack in the door. He takes off running outside. JOHN and the AGENT kick the door in and reaches the door to outside. DAVID TRENT takes off running just as JOHN and the AGENT slide out from under the door.) (He looks around. They don't see him. JOHN jumps over the stairs and looks down the side alleyway. He doesn't see him. They've lost him.) (Camera holds on JOHN.) CUT TO: [CHURCH] (SAM walks further into the small room. As she steps forward, BAILEY sees her trigger a string across the floor.) BAILEY: Sam! (He steps forward and grabs her to stop her from getting hurt.) SAM: Ohh! (Instead, the trip wire springs a trap door from above. A beautiful long dress falls from the ceiling. It's on a hanger) BAILEY: What is it? SAM: It's the gown I was baptized in. The lace on the collar is from my mother's wedding dress. BAILEY: Oh, Sam. SAM: It's ok, Bailey. It's ok. It's just a game. He's just trying to get inside my life. But this is his life ... not mine. (SAM looks at the dress.) SAM: Have forensics check it for trace evidence. Then burn it. (SAM turns and leaves the room.) FADE OUT. (COMMERCIAL SET) FADE IN. [INT. TRENT'S RESIDENCE -- NIGHT] (Sirens wail outside. The door bursts open and agents file into the room. JOHN and BAILEY walk into the darkened room.) JOHN: This is the address the owner of the toy store gave us for Trent. As far as we can tell, he hasn't come home yet. BAILEY: Maybe we should call next time. (SAM walks into the room.) BAILEY: You were right about careful and neat. This guy cleans up before he cleans up. (She looks around and sees something.) SAM: Bailey, give me a handkerchief. (BAILEY gives SAM a handkerchief. She uses it to turn on the television using the remote.) (On screen is a video feed from the corridor leading to the dressing room in MORISSA'S house.) MORISSA: (from video) You're not afraid of the dark, are you? BAILEY: (from video) Depends on who I'm in it with. MORISSA: (from video) Ooh. SAM: Morissa was right. He is watching her. (SAM hears something. She turns around and sees the exercise machine. She looks at it.) (Quick flashback to: The STALKER working out on the exercise machine. End of flashback. Resume to SAM.) (JOHN sticks his head back into the room.) JOHN: Hey, guys ... I think you're going to want to take a look at the garage. (SAM and BAILEY follow JOHN to the garage.) [GARAGE] (JOHN shows BAILEY and SAM the work area. There are dozens of dolls and supplies.) (BAILEY reaches out and picks up something off of the work table. JOHN points to it.) JOHN: Probably got a couple of those in her house. (SAM walks over to the body that's dangling from the ceiling. She turns it around to look at it.) (Various quick flashes of the MAN with MORISSA.) CUT TO: [INT. FBI - VCTF - HALLWAY -- DAY] (The elevator bell dings and the doors open. BAILEY and SAM walk out of elevator and head for the bullpen.) BAILEY: David Trent's 29 years old. He's got a long history of mental illness. His previous charges: Loitering, voyeurism, mostly misdemeanor stuff. SAM: Listen to this. "Having lost his mother by the age of 5, Mr. Trent was subjected to cruel and overbearing discipline from his father. Once, upon finding sexually explicit material in his son's dresser, Trent's father locked him in the car trunk and made him spend the night there." And we wonder where these people come from. (BAILEY and SAM stop near JOHN'S desk. He's finishing up a phone call.) JOHN: (to phone) Ok. Thanks. (He hangs up.) JOHN: No luck getting ahold of Havlovitch. There's no sign of him or Hunt, and the speech is in three hours. I got Trent's photo on the wire to Miami. SAM: We can't let Hunt make that appearance tonight, guys. Trent is going to try again. JOHN: But why, Sam? Is it a Hinkley thing? SAM: It's important to him that she sees what he's going to do to Hunt. I mean, he cuts the eyes out of the dolls, but he left them in that picture of her in his garage. (The phone rings. JOHN reaches back and answers it.) JOHN: (to phone) Grant. It's about time. (JOHN puts the phone of speaker phone and hangs up.) JOHN: It's Havlovitch. INTERCUT WITH: [EXT. - DAY] RICK HAVLOVITCH: (from phone) He ditched me, John. I never saw it coming. JOHN: Don't you tell me that. RICK HAVLOVITCH: We were in his room together. He said he wanted to lay down before he made the speech tonight. Some woman called and said she wanted to talk with him for a few minutes, and then he ditched me. SAM: He's meeting Morissa. HAVLOVITCH: What? SAM: That's the pattern, and the Senator fits perfectly. David Trent has been trying to tell Morissa that he is the only man she will ever be close to. BAILEY: "Only you, only me." SAM: Yeah, and at the cemetery, the dolls. He was trying to get her to see that she didn't have her ex-boyfriend anymore, that he wasn't the right man anyway, and Dr. Valentine, he was her Therapist, right? I mean, she confided in him. She shared her feelings, her fears, her desires. JOHN: You're saying Hunt's next on that list. Morissa and Hunt? That's out there, Sam. SAM: It fits, John. Look, when Morissa was 15, she dated Nash, and he was 19, captain of the football team. This woman likes older men. When we were at her house, you couldn't pry her off Bailey. BAILEY: Sam, if what you're saying is true, after we talked with her ... SAM: She would have called Hunt. BAILEY: And Trent is following her. (to phone) Hav, we're going to grab a chopper out of here. Check all the hotels near the convention center. Have someone meet us at the airport in two hours. RICK HAVLOVITCH: He's married with kids, Malone. He would never check in under his own name. SAM: Try Morrison, Jill Morrison. BAILEY: We're on the way. (They head out of the office.) CUT TO: [EXT. HOTEL -- DAY] [EXT./INT. HOTEL -- DAY (HAVLOVITCH meets with BAILEY, SAM and JOHN.) RICK HAVLOVITCH: You were right. Jill Morrison's checked she's down in one of the bungalows. (He turns to lead them there.) CUT TO: [INT. HOTEL - BUNGALOW - DAY] (DAVID TRENT watches the video on his ) MUSIC: Every single day (MORISSA is tied to a chair.) MORISSA: Why are you doing this? MUSIC: Every word you say, baby / every game you play / every night you stay / I'll be watchin' you / oh, can't you see / (As he watches the music video, DAVID TRENT gets turned on. He licks his lips, his eyes on the video.) DAVID TRENT: Why, it's only you, Morissa ... Only me. I'm the only one you got. I'm the only one you can really count on. (DAVID TRENT turns around to look at SENATOR HUNT tied spread eagled on the bed.) DAVID TRENT: At least I will be. (He rubs the ends of two wires together to get an electric current. SENATOR HUNT watches and starts panicking.) CUT TO: [EXT. HOTEL -- DAY] (OFFICERS and AGENTS surround the bungalow.) CUT TO: [INT. BUNGALOW] (SENATOR HUNT is tied on the bed.) TRENT: Mr. Hunt, now, you're getting in my way, and I just can't have that. (He rubs the two wires together to get a smoking current. Looking at HUNT, TRENT takes a step toward the bed.) MORISSA: No! CUT TO: [EXT. BUNGALOW - DAY -- CONTINUOUS] (HAVLOVITCH motions to the OFFICERS as they scramble to surround the building.) RICK HAVLOVITCH: You two over there. CUT TO: [INT. BUNGALOW - DAY -- CONTINUOUS] MORISSA: (screams) No! (DAVID TRENT slowly walks toward SENATOR HUNT.) (The door bursts open and OFFICERS pour into the room.) RICK HAVLOVITCH: Police! Don't move! (HAVLOVITCH positions himself near the bed. He glances at HUNT.) JOHN: FBI! RICK HAVLOVITCH: Take it easy, Trent. (They watch as TRENT holds the two wires in his hands. He doesn't put them down.) JOHN: Don't, Trent. (TRENT still doesn't put the wires down. He takes a couple of deep breaths as if weighing his options. He turns to run, when JOHN fires. He hits him in the back. TRENT falls to his knees in front of MORISSA.) DAVID TRENT: (rasps) I love you, Morissa. (The wires fall from his hands short circuiting the video screen. It blacks out and the music stops.) (The OFFICERS surround DAVID TRENT. JOHN walks forward looking down at the body while HAVLOVITCH frees HUNT.) OFFICERS: Shots fired! OFFICERS: Shots fired! Perp down! (BAILEY and SAM walk into the room. SAM walks forward toward DAVID TRENT and looks down at him. She kneels down next to him.) (Freed, MORISSA rushes over to the bed.) MORISSA: Are you ok? (She and SENATOR HUNT embrace and kiss.) SENATOR HUNT: I'm fine. I'm fine. MORISSA: Oh! SENATOR HUNT: It's ok. It's all over now, baby. You ok? (Sirens wail in the background. JOHN looks at SAM, then turns and heads out the door. SAM follows him.) (On their way out, MORISSA looks at them.) MORISSA: Is he dead? SAM: Yes. SENATOR HUNT: (to MORISSA) It's all over. (SENATOR HUNT looks at BAILEY.) SENATOR HUNT: We need to talk about this. BAILEY: Of course. (BAILEY leaves the room.) CUT TO: [INT. SAM'S PLACE -- DAY] (CHLOE is having tea with SAM and ANGEL. They're dressed in frilly tea clothes, light-colored Sunday hats and atrocious accents.) CHLOE: It's such a lovely morning. I thought we should have some tea in the park. ANGEL: Oh- Oh! SAM: What is in here, darling? (ANGEL laughs.) CHLOE: (whispers) Lemonade, but you're supposed to pretend like it's tea. SAM: Oh. ANGEL: (enlightened) Oh, blue lemonade. (Still, SAM looks at the blue liquid in her tea cup.) SAM: But, Chloe, honey, how did it change colors? CHLOE: (duh) I used food coloring from the kitchen cabinet. (SAM and ANGEL sip.) SAM: Mm-mmm. ANGEL: Mmm. This is delicious. Thank you, madam. CHLOE: You're quite welcome. SAM: Blue lemonade, it's just lovely. (The telephone rings. CHLOE stands up.) CHLOE: I'll get it. ANGEL: She's in her blue period. SAM: Mmm. Obviously. ANGEL: You went through Trent's stuff today. How did that go? SAM: Fine. He wrote that he did it all for love. In his mind, that sums it up and makes it all ok. ANGEL: It's like you said. We walk a thin line sometimes. One man's poetry is another man's obsession. CHLOE: Angel! It's for you! (ANGEL looks wide-eyed at SAM. She smiles and stands up.) CUE SONG: "Strange on the Shore" (SAM watches her leave.) SAM: (quietly) I suppose. CUT TO: [RADIO] (Camera lingers on the stereo system on the counter.) DJ: (from radio) This song's from jack to the woman he loves. (Dissolve to: A profile of JACK as he listens to the music. His eyes open.) (Overlay sounds of deep breathing.) FADE OUT. ========================== THE END ========================== [Closed Captioning made possible by court tv. Captioned by the National Captioning Institute www.Ncicap.Org] Courtesy of http://www.webphilia.com/~anthology/wnp.html Contact the Transcriptionist at (intrepidly002@yahoo.com) Please do not archive this transcript without permission from the transcriptionist. ========================== TITLE/OPENING CREDITS ========================== PROFILER 1X04: I'LL BE WATCHING YOU ORIGINAL AIR DATE ON NBC: 10/26/1996 TRANSCRIBED FROM COURT TV ALLY WALKER as Dr. Samantha "Sam" Waters ROBERT DAVI as Agent Bailey Malone JULIAN McMAHON as John Grant ROMA MAFFIA as Grace Alvarez MICHAEL WHALEY as Nathan Brubaker PETER FRECHETTE as George Fraley ERICA GIMPEL as Angel Brown CAITLIN WACHS as Chloe Waters Created by: CYNTHIA SAUNDERS Executive Producers: IAN SANDER Executive Producers: KIM MOSES Guest Starring: TUESDYA KNIGHT as Morissa SCOTT WILLIAMSON as Rick Havlovich CASEY BIGGS as Senator Hunt JASON RAINWATER as David Trent Co-Producer: JOHN FORREST NISS Produced by: ANTHONY SANTA CROCE Supervising Producer: CYNTHIA SAUNDERS Creative Consultant: KEN SOLARZ Executive Producer: LARRY HERTZOG Co-Executive Producer: NANCY MILLER Written by: LAWRENCE HERTZOG Directed by: JOHN HARRISON ========================== END CREDITS ========================== Sanders/Moses Productions NBC Studios NBC Enterprises Associate Producer: CATHY FRANK Also starring: JOSEPH WHIPP as Inspector Donnegan with BRIAN JOEL SAUVE as MAN (in blue jacket) MARK HICKS as Agent #1 ERIK FALLIN as Hav's Man Story Editor: JEAN GENNIS Story Editor: PHYLLIS MURPHY Casting: ANTHONY BARNAO Director of Photography: MICHAEL BONVILLAIN Production Designer: JONATHAN CARLSON Edited by: BERT GLATSTEIN, A.C.E. Main Title Theme: ANGELO BADALAMENTI Music by: JEFF RONA Unit Production Manager: ANTHONY SANTA CROCO First Assistant Director: CAROL GREEN Second Assistant Director: JEFF KAY Costume Designer: TOM McKINLEY Production Supervisor: ROBERT E. WOZNIAK Camera Operator: THOMAS YATSKO First Asst. Cameraman: BUTCH PIERSON Dolly Grip: RICK MAXEY Production Sound Mixer: KEN SEGAL Second Second Assistant Director: LAURA SYLVESTER Location Manager: RHONDA BAER Gaffer: VANCE TRUSSELL Key Grip: RONN COONEY Construction Coordinator: ANDREW MOORE Transportation Coordinator: STEVE ZERWECK Script Coordinator: ERNIE ORSATTI Special Effects Coordinator: LARRY FIORITO Art Director: JEREMY A. CASSELLS Costume Supervisor: KRISTIN DANGL Set Decorator: RICHARD REAMS Property Master: BLANCHE SINDELAR Make-up Artist: CRISTINE CHADWICK Hair Stylist: STEVEN SOUSSANA Production Auditor: BETHANY BROWN Script Supervisor: JANEL F. REEVES Production Coordinator: JANE EVERETT Assistant to Executive Producer: NICHELLE M. PROTHO Assistant to Co-Executive Producer: ANNE BRUNNER Assistant to Producer: KIMBERLY DICKENS Computer Graphics: PAUL LeBLANC Video Playback: BOB MORGENROTH Optical Online: ROGER BERGER Post Supervisor: LYNN STEVENSON Post Coordinator: GINA LAMAR Main Title: SUZANNE KILEY Supervising Sound Editor: PETER AUSTIN Assistant Editor: MONICA GILLETTE Music Editor: KIM NAVES Re-Recording Mixers: MIKE GETLIN / DEAN OKRAND / BILL THIEDERMAN Da Vinci: RICK DALBY Telecine: MACE JOHNSON The characters and events depicted in this program are fictional. Any similarity to actual persons, living or dead, or to any actual events is coincidental and unintentional. Executive in Charge of Post Production: JOSEPH DERVIN, JR. (c) 1996 National Broadcasting Company, Inc. All rights Reserved. Executive in Charge of Production: JOHANNA PERSONS aetv.com Dated:12/01/2003~lky http://www.webphilia.com/~anthology/wnp.html