PROFILER
1X07: NIGHT DREAMS
ORIGINAL AIR DATE ON NBC: 11/16/1996
TRANSCRIBED FROM DVD
Written by: CYNTHIA SAUNDERS
Directed by: IAN TOYNTON
Transcript by Intrepid
Courtesy of http://www.webphilia.com/~anthology/wnp.html
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Transcriptionist.
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==========================
SUMMARY: The VCTF investigates a series of kidnappings of women of various ages
and different backgrounds in what appears to be an elaborate ritual of sorts.
==========================
PROFILER
1X07: NIGHT DREAMS
==========================
FADE IN.
[EXT. HOUSE - NIGHT]
[INT. BEDROOM - NIGHT]
(Camera moves toward and across a woman in bed sleeping.)
(Dissolve to: Camera moves across the framed photos on the mantle, then into
the master bedroom where a woman sleeps in bed.)
(Dozens of candles are lit in the room. Next to the bed, a MAN chants. He
twists and ties some straw with his red-gloved fingers. He continues to chant.)
(The woman on the bed starts to stir. The MAN picks up the pillow off of the
bed.)
(The woman's eyes open and she sees the black painted mess on her bedroom wall.
She turns and sees an animal head looming toward her.)
(She screams.)
FADE TO
END OF TEASER
ROLL TITLE CREDITS
FADE IN.
[EXT. CITY (STOCK) -- DAY]
LEGEND:
BALTIMORE,
MARYLAND
[EXT. HOUSE -- DAY]
(The police car reverses out and stops in front of the house. Emergency
personnel are already there along with a growing crowd of curious onlookers.)
(BAILEY, JOHN and SAM are in another car which parks outside of the house. JOHN
gets out of the car.)
JOHN: Looks like somebody sent invitations.
(BAILEY and SAM step out also. They head for the house.)
BAILEY: Three women disappear in four days. Things like this aren't supposed
to happen in this neighborhood. It's going to be a feeding frenzy.
SAM: We're going to need access to the first two crime scenes.
BAILEY: Happening as we speak.
(A reporter rushes in front of the AGENTS. They don't slow down their pace.)
REPORTER: Are you still holding out hope that any of these women are still
alive?
BAILEY: We just got here. Give us a chance, ok?
REPORTER: You don't seriously expect any ransom demands, do you?
(Ignoring the question, they continue through the crime scene tape leaving the
REPORTER and his CAMERAMAN behind.)
BAILEY: Sharks.
SAM: They're scared.
BAILEY: Yeah, of not beating the guy next to them to the 6:00 news.
JOHN: I thought the blonde was cute.
BAILEY: Should have given her your phone number over the noise.
(They enter the house.)
[INT. HOUSE - DAY -- CONTINUOUS]
(JOHN steps through the front door and looks around. Everywhere there are
cops.)
JOHN: Bad day for the doughnut stores.
BAILEY: Baltimore P.D.'S catching a lot of heat on this. Calling it a
kidnapping for now. That gets us here.
(NATHAN joins the group.)
NATHAN: Victim's husband came in early from an out-of-town business trip,
walked into this mess.
(SAM sees the husband in the living room with his arm around his daughter.)
BAILEY: I'm gonna speak to the husband.
(BAILEY turns and heads for the living room.)
JOHN: (to SAM) Come on.
(JOHN and SAM head upstairs.)
[UPSTAIRS BEDROOM - CONTINUOUS]
(They look around the room.)
(Quick camera flashes of: Burned out candles and a skull on the dresser.
Stained bedsheets. More burned on candles, mortars and pestles on a small
table. End of camera flashes. Resume to SAM.)
JOHN: Candle wax, animal head. Same guy, right?
(JOHN walks over to the wall where the animal head and paint stain the wall.)
SAM: Police report say how he got in?
JOHN: Through the back door downstairs. Seems as though they never locked it.
Didn't think they had to.
SAM: Nineteen-year-old college girl, a 60-year-old Alzheimer's patient, and now
this. There's no pattern.
JOHN: Maybe he just keeps trying till he gets lucky.
SAM: I don't think so.
(SAM kneels down to look at the things on the small table.)
(Quick flashes of: The WOMAN is asleep in her bed. The animal head painting is
on the wall. End of flashback. Resume to present.)
SAM: The candles, the paint ... he takes the show with him. He knows where
he's going before he gets there.
JOHN: So he stalks them first. Gets the lay of the land.
SAM: That would explain how he got in and out of here without being spotted,
yeah.
(SAM stands up.)
(Near the door, NATHAN speaks with an OFFICER. JOHN heads toward them.)
JOHN: What you got?
NATHAN: A headache, if you want to know the truth. Bed was covered with blood,
but none was found on the floor.
(At the mention of the bed, SAM looks at the bloodstained bed.)
NATHAN: Take a look at this. Found this scattered around the bed.
(NATHAN shows JOHN the baggie of seeds.)
JOHN: Sunflower seeds?
NATHAN: That's what it looks like. And this is ...
(He hands JOHN another baggie.)
JOHN: Dirt?
NATHAN: Why, hey, aren't you the smart one today?
(SAM joins them.)
SAM: Any traces of dirt or sunflower seeds at the other crime scenes?
NATHAN: No.
SAM: Hmm.
(SAM turns and leaves to look around.)
JOHN: Prints?
NATHAN: Gloves.
JOHN: Right. Thanks.
NATHAN: Hmm.
(JOHN walks away to look around.)
(SAM turns and heads for the animal head painting on the wall.)
BAILEY: The husband's a mess.
(BAILEY walks into the bedroom.)
BAILEY: Came home around 6:00 this morning, went in to give his little girl a
kiss, she was still in bed. Then he came up here.
SAM: Did she see this?
BAILEY: It's hard to tell what she did or didn't see. She's a little
overwhelmed at the moment. From what they could get, she was asleep.
(BAILEY turns and looks around the room.)
BAILEY: Thank god they kept her away from this.
SAM: Keep them off her, Bailey. She doesn't need to remember right now.
(BAILEY kneels down in front of the small table.)
BAILEY: Son of a bitch spent a hell of a lot of time here.
SAM: He's very deliberate. He's performing some sort of ritual. This is not
about violence.
(SAM looks at the wax on the floor.)
(Quick flash to: The KIDNAPPER steps in the wax. End of flashback. Resume to
present.)
SAM: We should have forensics check the imprints in the wax at the side of the
bed here. Looks like he knelt down while he was doing whatever he did in here.
JOHN: No apparent struggle. Be nice to know how he manages that.
NATHAN: And how he moved her without leaving a trail of blood.
BAILEY: He may have wrapped her in something, carried her out. Make sure they
check her clothing. Compare notes with the husband. Find out if anything's
missing.
NATHAN: All right.
JOHN: I don't get it. With this kind of slaughter, why take the body with you?
SAM: He wasn't finished with it.
CUT TO:
[INT. CHLOE'S BEDROOM -- NIGHTMARE]
(Tinged in blue moonlight, we experience CHLOE'S nightmare.)
(There's a shadow of a man just outside the door. CHLOE'S sleeping on her bed.
The MAN steps up to her bed.)
(Cut to: CHLOE is awake, standing in the corner clutching her doll to her
chest.)
(Cut to: The shadow of the MAN passes over CHLOE as she sleeps in her bed.)
(Cut back to: CHLOE's standing in the corner.)
CHLOE: Stop it!
(The shadow of the MAN passes over CHLOE as she sleeps in her bed.)
CHLOE: Mom!
(Again, the shadow of the MAN persistently passes over CHLOE as she sleeps in
her bed.)
CHLOE: Mom!
(The shadow passes over CHLOE asleep in her bed.)
[END OF NIGHTMARE]
(CHLOE sits up in bed.)
CHLOE: (cries out) Mom! Mom! Mom.
(SAM rushes into the room and checks on CHLOE.)
SAM: It's ok. What is it, sweetie? You ok? Hmm? (She kisses CHLOE.) What,
were you having a bad dream?
(SAM reaches for the lamp and turns the light on.)
CHLOE: It seemed really real.
SAM: Yeah. It was only a dream, Chloe. You're ok. Ok? You want to tell me
what it was about?
(CHLOE shakes her head.)
SAM: No?
(She tries to get CHLOE to talk.)
SAM: Sometimes it helps to talk about it, Chlo.
(CHLOE shakes her head again.)
SAM: Ok.
(SAM settles CHLOE back in bed.)
SAM: Chloe, you know that dreams can't hurt you, right? I mean, they can be
very scary sometimes, but they can't hurt you.
CHLOE: Do you ever have scary dreams?
SAM: Sure, I do. Everybody does.
CHLOE: Who comes to your bed when you're scared?
SAM: Well, when I'm afraid, I know that, uh, I have you and Angel.
CHLOE: I'll take care of you, mommy.
SAM: I know you will. Go to sleep.
(She leans in and tenderly kisses CHLOE on her forehead. CHLOE closes her
eyes.)
SAM: I know you will.
(SAM turns the light off, then steps away.)
CUT TO:
[EXT. FBI BUILDING (STOCK) - DAY]
[INT. FBI - VCTF - COMMAND CENTER - DAY]
(On the monitor, the photo and stats of the first missing woman is on screen.)
BAILEY: Candy Bruckner, age 19. Taken from her room at the theta zeta omega
sorority house. No forced entry. Like the others, no one heard or saw anything.
No apparent struggle.
(The monitor shows the second missing woman and her stats.)
BAILEY: Julie, 60 years old, suffering from Alzheimer's. Resident of the
Golden Meadow Nursing Home. She was taken from an outing at Hastings Park. No
candles, no wax, no seeds, no dirt.
NATHAN: Can we even be sure she's part of the pattern?
JOHN: It'd be dangerous to rule her out at this point. Berkowitz in New York
targeted brunettes, hair parted in the middle; Bundy, college-age girls;
Hawkins, the elderly and the infirm. This guy's all over the road.
SAM: Well, all the victims are women.
BAILEY: What about the candles, the jaguar?
NATHAN: We're running down references on every religion we can find. Does
anyone really think these women are still alive?
SAM: Whoever he is, he's getting in and out of these neighborhoods undetected,
and he's carrying a kit with him.
BAILEY: Let's check anyone who works in the area, people who blend in unnoticed
-- telephone repairmen, plumbers, milkmen, street cops.
(The telephone rings. NATHAN answers it.)
NATHAN: Nathan. Right. (pause) Are you sure? (pause) All right, I'll tell
the results are in on the blood from the Everett House.
(He hangs up.)
NATHAN: It's not human. (pause) It's goat's blood.
(They look at each other.)
CUT TO:
[INT. FBI - SAM'S OFFICE]
(SAM absently puts some fizzy antacid pills in a glass as she reads off her
laptop.)
(JOHN walks into her office.)
JOHN: Hi.
SAM: Hey.
JOHN: Here. Try these.
(JOHN hands her some antacid pills. SAM laughs.)
JOHN: Better at getting rid of the knot in the stomach there.
SAM: Thanks.
(JOHN takes a step back and smiles.)
SAM: Did you know that there are more than seventeen known religions that use
goat's blood in one type of ceremony or another?
JOHN: I'm strictly a wine and wafer guy.
(SAM pushes her chair away from the computer and goes back to her desk.)
JOHN: So that, uh, that knot in your stomach, part of that Coop?
SAM: Maybe, but that is the way it is, and I'm just gonna have to learn to live
with it.
JOHN: Tell that to your intestines. (He laughs. She smiles.) Listen, uh, Sam
... I just wanted to let you know that I know how it is. You know? I mean, I
know it can really suck sometimes.
(She smiles.)
SAM: Poetically put.
JOHN: Yeah, well. Sometimes it just helps to talk about it. (He gets to his
feet.) And, uh, anyway, I've been there, so ... if you need a shoulder.
SAM: Thanks.
(He nods, then turns to leave the office. Then, he remembers what he came in to
say and turns back to SAM.)
JOHN: Oh. I almost forgot why I came in here. You want to see the other crime
scenes?
SAM: Yeah.
JOHN: Candy Bruckner's room is secure and ready anytime you are.
SAM: Good.
(JOHN turns and leaves the office.)
CUT TO:
[EXT. THETA ZETA OMEGA SORORITY HOUSE - DAY]
SAM: (v.o.) Girls Candy's age are usually leaving home
[INT. CANDY BRUCKNER'S ROOM -- DAY]
(SAM and JOHN are in the bedroom looking around.)
SAM: ... for the very first time, so where they live is an expression of their
personality.
JOHN: So, I guess, Candy Bruckner is neat, organized, and boring.
SAM: Does she look boring to you?
(SAM shows JOHN the photo of CANDY BRUCKNER in a multi-colored two-piece bikini.
She's smiling at the camera.)
JOHN: What's your point?
SAM: Well, would this girl be living in this room?
(SAM looks around and the room looks extremely bare.)
JOHN: I guess not.
SAM: Did you bring gloves?
(SAM turns and heads for JOHN.)
(The camera lingers on the wall with the picture of the jaguar, red-paint and
black symbols and drawings.)
JOHN: (o.s.) Of course. I always come prepared.
(SAM opens the drawer. She's searching for something. JOHN closes a drawer and
turns to look at SAM.)
JOHN: What am I looking for?
(SAM continues to search through the drawers. She slams the drawer closed, then
stands up.)
SAM: I don't know. I'll tell you when you find it.
JOHN: Thanks. That helps.
(SAM looks at the jaguar painting on the wall over the bed, then down to the
candles on the small table.)
(JOHN opens the closet door and peers inside.)
(SAM looks at the things in the bathroom. JOHN kneels and looks inside the
lower portion of the closet.)
(SAM opens the medicine cabinet.)
(Quick flash to: The KIDNAPPER grabs the container of brushes. Make-up falls
into the open bag. End of flashback. Resume to present.)
(SAM closes the medicine cabinet door.)
(She turns and looks back at the bedroom dresser.)
(Quick flash to: The KIDNAPPER removes some lingerie from the drawer and puts
it in the bag with his other things.)
SAM: John.
JOHN: Yeah?
SAM: Candy Bruckner is 19 years old, but this place looks like it could belong
to an 8-year-old. Anything having to do with her sexuality is gone. I mean,
there's no makeup, no perfume.
JOHN: No lacy underwear, no jewelry.
SAM: Right.
JOHN: I found these at the bottom of the closet.
SAM: What is this, a piece of straw?
JOHN: Mm-hmm.
SAM: And a note.
(She reads it.)
SAM: (reading)
"The circle closed, last air, last breath.
The darkness holds new life from death."
(She looks up at JOHN.)
SAM: Did Bailey go back to the Everett house?
JOHN: Yeah. He asked Grace to check it out.
SAM: Great. Call him and tell them to look ... tell them to look for a piece of
straw like this.
JOHN: How does this fit with Mrs. Everett?
SAM: I don't know. It doesn't, but it's something. It tells us something
about him. He didn't de-sexualize Mrs. Everett, but whoever this guy is, he's
leaving us much more than we thought. Tell Bailey to turn the place upside
down.
CUT TO:
[EXT. EVERETT RESIDENCE - DAY]
(The OFFICER car drives away. The WOMAN OFFICER heads back to the residence.)
[INT. EVERETT RESIDENCE - DAY]
(BAILEY rapidly descends the stairs. He's holding a stuffed teddy-bear. He
holds it out to SAM. She looks inside and removes the piece of straw and note.)
BAILEY: It was on the kid's bed, so close to our noses, we almost didn't find
it.
SAM: What about the note?
BAILEY: Open it up.
SAM: (reading)
"To touch the god, wear tomah's rune.
Their deaths shall come by solstice moon."
JOHN: I already ran it. Solstice moon is three nights from now.
(SAM looks down at the note, thinking.)
SAM: They're still alive.
(Camera holds on SAM.)
FADE OUT.
FADE IN.
[ON TELEVISION]
REPORTER: Hope continues to fade regarding the fate of three missing women.
All that we know right now is that the jaguar is loose in Baltimore, and that
until he's caught, no woman can feel completely safe.
[INT. SAM'S PLACE - LIVING ROOM - NIGHT]
(ANGEL sits down in front of the television set. She turns and looks behind her
at SAM sitting at the table.)
ANCHOR: Thank you, john. This frightening story -
SAM: Please turn that off, please.
(SAM picks up a baggie with the straw in it.)
ANGEL: The jaguar?
SAM: Well, they had to have something to hang their hats on. I just call him
impossible to figure.
ANGEL: Well, their name's catchier.
(In the background, thunder rumbles. SAM turns around to look at ANGEL as she
puts her shoes on.)
SAM: Is the elevator door locked?
ANGEL: Yes, for the third time.
SAM: Angel, do you think that we're ok here?
ANGEL: We have four armed firemen downstairs and an FBI agent sleeping in the
bedroom. I think we're safe as anywhere.
(More thunder rumbles.)
ANGEL: Is there any luck on Jack's fingerprint?
SAM: No. We ran it through the N.C.I.C. and the military, and there's nothing.
ANGEL: You'll find him, Sam.
SAM: Angel, how does he know so much about me? I mean, the doctor who
delivered me? How did he get my birth certificate?
(They turn when they hear CHLOE cry out.)
CHLOE: (o.s.) Mom! Mom!
(SAM and ANGEL run to CHLOE'S bedroom. SAM pushes the door open. CHLOE'S bed
is empty.)
SAM: Chlo?
(SAM looks around the bedroom and finds CHLOE standing in the corner clutching
her doll.)
CHLOE: (whimpers) Mommy.
SAM: Chloe. Sweetie, come here.
(SAM picks CHLOE up.)
CHLOE: He was here, mom, in the window.
SAM: Who was here, sweetie?
(SAM puts CHLOE back to bed. ANGEL walks to the window to check.)
CHLOE: A man was looking at me through the window.
SAM: Chloe, we live on the second story. There's no way anybody could get to
the window. Are you sure weren't just having a bad dream?
CHLOE: Baby Waters saw him, too.
SAM: Ok, do you think either you or Baby Waters could tell me what the man
looked like?
(She shakes her head.)
CHLOE: It was too dark.
SAM: Ok. I'll have a look, ok?
(SAM walks over to the window and checks.)
SAM: Well, there's nobody down there now, sweetie, and there's no ladder and no
way to get in.
CHLOE: Maybe he flew.
SAM: Chloe, do you really believe that somebody could do that?
(She shrugs.)
SAM: No. You were just having a bad dream, sweetie. I'll tell you what I'm
gonna do. I'm gonna leave your light on in here tonight, ok? And Angel and I
are right outside that door if you need us.
CHLOE: Mom.
SAM: Yeah?
CHLOE: Make sure the elevator's locked.
SAM: Ok, I will. Go to sleep.
(SAM and ANGEL share a look. CHLOE settles in to sleep. SAM steps away to
leave.)
DISSOLVE TO:
[EXT. HASTINGS' PARK -- DAY]
(SAM and JOHN drive over to the crime scene.)
[INT. CAR (PARKED) - DAY]
JOHN: We're still not even sure that Julie Rafer's disappearance is connected
with the others. I mean, she is an Alzheimer's patient. She could've just
wandered off. Linda Firestone. She's an R.N. And a supervisor at the nursing
home. She and an aide, Susan Holmes, were with the group the day that Julie
disappeared.
(SAM looks at the photos in the file.)
SAM: Well, she didn't give me much to go on.
JOHN: Yeah, well, she said she doesn't remember much.
(They both get out of the car. SAM leaves the file, photo up on the front seat
of the car.)
CUT TO:
[EXT. HASTINGS' PARK - DAY - CONTINUOUS]
(SAM talks with LINDA FIRESTONE.)
SAM: If you don't mind going over it one more time, maybe I can help you
remember some stuff.
LINDA FIRESTONE: All right.
(They sit down on the bench.)
SAM: We really do observe much more than we realize. It's just a matter of
concentrating. You just have to sort of slow it all down. Just try to take
yourself back to that day. You were in the park, and you can hear the children
laughing ... feel the breeze. Where were you? You were on the carousel?
LINDA FIRESTONE: Yeah, uh, with Helen. I was talking with Helen. And then the
ride stopped. We got off. And that's when Julie came up to me. She said that
she had to use the little girls' room. I asked her if she wanted me to go with
her, but she said she'd be fine. I pointed it out to her, and I ...
(Quick flashback to: LINDA FIRESTONE pointing out the bathroom to JULIE RAFER.
They're standing near the carousel. End of flashback. Resume to present.)
LINDA FIRESTONE: I watched her go for a second or two, then I turned back to
the carousel. Bells made me hungry.
SAM: Bells? What bells?
LINDA FIRESTONE: There was an ice cream truck, and I remember thinking what a
good time it would be to have some ice cream. But, you know, we're not allowed
to feed the patients outside the home. But it was there.
SAM: Where?
LINDA FIRESTONE: Oh, it--it stopped right over there, right beyond the
bathrooms.
(She points.)
(Quick flashback to: The ice cream truck parks near the bathrooms. A man
dressed in white comes out of the truck. End of flashback. Resume to present.)
SAM: Linda, did you get a look at the driver?
LINDA FIRESTONE: No. No, he was too far away. Next time I thought about it, he
was gone.
(Quick flashback to: The same spot, only the ice cream truck is gone. End of
flashback. Resume to present.)
LINDA FIRESTONE: So was Julie.
CUT TO:
[EXT. HASTINGS PARK -- PARKING LOT NEAR BATHROOMS]
(SAM and BAILEY walk toward the spot LINDA pointed out to her now occupied by
various cars and detectives..)
SAM: If it is the same guy, Bailey, he would've left us a note.
BAILEY: Well, at the Everett house, it was right under our noses.
(SAM looks down at the man hole cover.)
(Quick flashback to: The MAN holding the piece of knotted straw. End of
flashback. Resume to SAM.)
(BAILEY turns slightly and sees SAM looking at the man hold cover.)
CUT TO:
(The man hole cover is removed. BAILEY and JOHN get the cover open. JOHN
reaches down into the man hole and turns on his flashlight to look for the
message.)
SAM: Do you see anything?
JOHN: Well, there's a parade in downtown Peking. Hold on.
(SAM nods at the humor. He looks up at SAM at her reaction. BAILEY smiles.)
(JOHN reaches in and searches under the entrance for the note.)
JOHN: Hold on.
(JOHN finds the note taped to the underside of the entrance. He removes it and
hands it to BAILEY.)
BAILEY: (reading)
"In heaven's arms to lord ascend,
the journey long will reach its end."
CUT TO:
[INT. FBI - VCTF - COMMAND CENTER - DAY]
(CLOSE ON MONITOR: The slips of paper are on screen. The notes are highlighted
one by one as BAILEY identifies them.)
BAILEY: From the Everett house. (Highlight switches) From the Sorority House.
Nathan, what do we got?
NATHAN: Not much. We're still hammering down on religions, anything involving
goat's blood, cross-referencing that with the name Toma. We've also got feelers
out on anyone who raises or deals with goats in any way. It's not like you can
walk in and buy the stuff at your local supermarket.
BAILEY: What's on wires?
NATHAN: We've got a sheet out to the state prisons and psych wards. Nothing
yet. John's on the ice cream truck angle.
BAILEY: Sam.
SAM: Well, let's play the odds. Men who victimize women usually have a
destructive mother/son relationship.
BAILEY: We know he's got a deadline -- the solstice moon.
SAM: Which is in two nights. Might get excited and blow something.
BAILEY: None of these women cried out or struggled.
SAM: Maybe he knew them. I mean, there has to be a reason that he chooses the
women he chooses. (thinking, feeling around) It's as if he's collecting them.
(JOHN walks into the Command Center.)
JOHN: Hey, guys. Put me at the top of your Christmas lists. We got him.
(JOHN takes the seat next to NATHAN.)
JOHN: You want to punch this up there, Nate?
(NATHAN puts the pictures of the ice cream trucks on the monitor. As JOHN
speaks, the selection dwindles down.)
JOHN: We ran registration on all the ice cream trucks in Maryland. All but 12
are registered to ice cream companies. Of those 12, eight of them are out of
service, so we ran background on the other four. One of them ... belongs to
this guy.
(The final ice cream truck changes and the mug shot of the owner is up on
screen.)
(The information reads:
BILL J. WAVERLY
SS: 967-44-8790
AKA: NONE
DOB: 01-0-66
AGE: 30
HGT: 6'1"
WGT: 250
EYE: BRN
HAI: BRN
{On the right of the screen is his record.}
NATHAN: Bill Waverly. Ooh, his juvie record alone could choke our database.
SAM: With what?
JOHN: Mostly petty stuff to begin with. Robbery, assault on other kids, one
arson, and at 14, he hit the big-time. He killed his grandmother. He was sent
away to a state institution in silver spring, and then -
BAILEY: They let him out.
JOHN: Yeah, he got religion, found the right words, and bingo, he's
rehabilitated. I got, uh ... the address here from DMV records.
BAILEY: Post time.
(BAILEY, JOHN and NATHAN stand up and leave the command center. SAM takes a
step forward and really looks at the picture up on the monitor.)
CUT TO:
[EXT. JUNKYARD -- DAY]
(The car full of AGENTS arrive at the junkyard. They park directly in front of
the ice cream truck. BAILEY looks at the old, hardly used truck. They get out
of the car.)
(BAILY looks inside the truck. He opens the door. JOHN walks around the back
of the truck and opens the back.)
(When the door opens, an arm falls out. There's a dead body of a man stuffed in
the back of the ice cream truck. He's dead. JOHN checks the body just to be
sure.)
JOHN: It's not him. It's not Waverly.
(Suddenly, a shot fires and hits JOHN in his right shoulder.)
(BAILEY tucks and rolls forward. He turns around in position and fires at the
man running.)
(JOHN falls to the ground. NATHAN grabs ahold of JOHN. The running man gets
into a black car. BAILEY fires more shots at the car. He starts the car
engine. NATHAN grabs JOHN and holds onto him.)
(The MAN drives away. BAILEY fires again at the speeding car.)
NATHAN: Damn it. Hang in there, buddy. Hang in there.
BAILEY: This is Malone. I've got an officer down. I want an ambulance at the
junkyard at highway 28. Now!
NATHAN: Hang in there for me. Just hang in there, all right?
FADE OUT.
FADE IN.
[EXT. HOSPITAL - EVENING]
[INT. HOSPITAL - JOHN'S ROOM - EVENING]
(JOHN has his arm in a sling. SAM stands over his bed.
JOHN: Am I dead?
SAM: Well, there's some dispute, but the doctors say no.
JOHN: Good. For a moment there, I thought I saw an angel.
SAM: I can see that it's gonna take a lot more than a bullet to stop you.
JOHN: Did we get him?
SAM: No. He got away.
JOHN: So all this is for nothing.
SAM: Well, you'll get a letter from the Director and a big hug from Bailey.
(SAM laughs. JOHN glances at SAM.)
JOHN: Or is it from you?
(SAM doesn't say anything.)
JOHN: What time is it?
SAM: It's about 6:30.
JOHN: Shouldn't you be home?
SAM: No. Angel's with Chloe, and ... besides, you offered to loan me one of
your shoulders once. Now you seem to be one short, so ...
JOHN: Great. Do me a favor and don't remind me.
(They laugh.)
SAM: Sorry. I'll watch what I say.
JOHN: Bet you're surprised, though.
SAM: About what?
JOHN: I actually do have a heart.
(He closes his eyes appearing tired enough to doze off quietly to sleep. SAM
reaches out and lightly touches his forehead.)
SAM: I never doubted it.
(She pulls away and touches his arms.)
CUT TO:
[EXT. FBI BUILDING (STOCK) - NIGHT]
[INT. FBI - VCTF - SAM'S OFFICE -- NIGHT]
(SAM studies the information board. She looks at the various photos of the
missing women.)
(Quick flashes of: The notes. The note in the teddy bear. The note under the
sewer entrance. End of flashback. Resume to SAM.)
(BAILEY walks in.)
BAILEY: Sam, we've got some forensics evidence to take a look at. Conference
room in five minutes.
SAM: Bailey. I don't understand what he's doing. I don't know why he's
choosing these women.
BAILEY: Well, it's not just women anymore. The body in the ice cream truck was
a male -- Joey Hernandez, age 24. Waverly's prints were all over the truck.
SAM: There was no straw.
BAILEY: None that we found.
(BAILEY glances down at his watch.)
SAM: I still think that he's collecting women.
(SAM sits down at her desk.)
SAM: Uh ... maybe Hernandez got in the way.
BAILEY: Ok. We'll expand the known associates on Hernandez, concentrating on
women.
(He holds up five fingers to her.)
BAILEY: Five.
(He turns and leaves the office leaving SAM sitting behind her desk thinking.)
CUT TO:
[INT. FBI - VCTF - COMMAND CENTER -- NIGHT]
(On the monitor, the structure of a chemical compound is on the screen.)
NATHAN: Flunitrazepam. We found large doses in Hernandez's body, around the
truck, and two bottles of the stuff hidden in the garage.
SAM: What is it?
BAILEY: It's a hypnotic. It's been used in a number of rape cases over the
past year or so.
SAM: That's why no one's heard them. That's why there was no struggle. He
drugged them.
BAILEY: We're making that assumption. Any addresses on Waverly besides the
garage?
NATHAN: Negative. We're still digging.
SAM: What about his mother?
NATHAN: His mother died when he was five. He was raised by foster parents.
I'm in the system now trying to pull up a last name. There's a lot of red tape.
BAILEY: Nathan, check with the emergency rooms in the neighborhood. Find out
if any of the women admitted were affected by flunitrazepam.
NATHAN: Think Waverly tried and struck out?
BAILEY: He may have let one slip through the cracks. Ok, we've got 24 hours,
ladies and gentlemen ... if that.
(The meeting is adjourned.)
CUT TO:
[INT. SAM'S PLACE -- NIGHT]
(The door opens and SAM walks in and puts her bag on the table. ANGEL appears
to be clearing the table.)
ANGEL: Uh-oh. Looks like one of those days you've considered career
alternatives.
SAM: Wonder how much a forest ranger pays.
(SAM looks for and sees CHLOE in the next room. She heads for CHLOE who is
drawing pictures.)
SAM: Hey, you.
(SAM kisses CHLOE on the top of her head.)
SAM: What you drawing?
CHLOE: Pictures of my dreams.
ANGEL: I thought we'd give it a shot.
CHLOE: Mom, I think I'm taller in my dreams than in real life.
SAM: Yeah? How tall are you? Taller than me?
CHLOE: Not that tall. But taller.
SAM: Who is this? Is this me?
CHLOE: Mm-hmm. And that's daddy.
(We see CHLOE'S picture.)
SAM: Is that your dream, Chlo, all of us together?
CHLOE: I dream about that a lot. But it's just I have to decide how tall I'm
gonna make myself.
(ANGEL steps forward to listen.)
CUT TO:
[INT. FBI - VCTF - BAILEY'S OFFICE -- NIGHT]
(BAILEY picks up the phone and dials.)
BAILEY: (to phone) Helen? Billy Malone. (pause) Good. How are you doing?
(pause) Would you like to get something to eat? (He looks at his watch and the
clock.) Yeah. I guess it's a little late. Nothing. Just dinner, you know,
talk a little. About what? Well, do we need a topic? I just thought it would
be nice to get together, that's all. No, I understand. Sorry I couldn't give
you more warning. Maybe next time. You, too.
(He hangs up, puts his watch on and turns off the stereo on his way out the
door.)
[COMMAND CENTER - NIGHT - CONTINUOUS]
(BAILEY steps out into the command center. It's deserted. He walks alone along
the bullpen when NATHAN rushes into the room carrying a file.)
BAILEY: Nathan. I didn't know anybody was here.
NATHAN: Your lead paid off. A woman checked into St. Vienent's hospital
yesterday. She was dosed with flunitrazepam. Jennifer Mason, 1932 Driggs.
BAILEY: That's a commercial district. She lives there?
NATHAN: (smiling) That's the address she gave.
(Excited with this new lead, BAILEY takes the file and heads out.)
CUT TO:
[INT. STRIP CLUB -- NIGHT]
(BAILEY and SAM walk into a strip club.)
SAM: And you thought, "hey, it's 11:30 at night. Why not call Sam, see if she
wants to go see a show downtown?"
BAILEY: Got the best dancers on the strip.
SAM: Oh, well, in that case ...
BOUNCER: Can I help you?
(BAILEY takes out his ID and shows it to the BOUNCER.)
BAILEY: We'd like to talk to one of your girls. Her name is Jennifer.
BOUNCER: Over there.
(He points out the girl to BAILEY and SAM. They head over there.)
BAILEY: We'd like to talk with you.
JENNIFER: I don't do threes.
BAILEY: There's just two of us.
JENNIFER: Hey, what the hell? I'm always open for experience.
(BAILEY shows her his ID.)
JENNIFER: Yeah, right. After this number.
[LATER]
(JENNIFER talks with BAILEY and SAM.)
JENNIFER: It was the strangest thing. I mean, it's not like I can't handle my
liquor, you know what I mean? My boyfriend Eddie was there, and I couldn't find
him, and there was this guy sitting next to me, and--you know how that is,
sweetie.
SAM: Yeah.
JENNIFER: It's like the next thing I know, I'm walking out to this guy's car
with him. I don't know why I'm doing it. I just am.
BAILEY: You never got there. What happened?
JENNIFER: Eddie happened. You know, it's all kind of a blur, but the way he
tells it, he comes up to us, he starts to hassle this guy, throws him up against
the car, and that's it. Next thing I know, I'm in a hospital getting my tubes
cleaned.
BAILEY: Would you take a look at this?
JENNIFER: That's the guy, man. That's him. As weird as I felt, I got a good
look at him. That's him.
RUBEN: Hey, Jen, get shaking up there. You were up 10 minutes ago.
BAILEY: We're almost done.
RUBEN: I think you are done.
JENNIFER: Play nice, now, Ruben. They're feds.
RUBEN: You're a fed? What a waste
SAM: Well, thank you very much.
JENNIFER: Yeah, I hope you get your guy. Later.
BAILEY: Thanks.
(She stands up and leaves.)
CUT TO:
[INT. FBI - VCTF - BULLPEN]
(NATHAN walks up to the group with a file.)
NATHAN: It turns out Joey Hernandez had a girlfriend. Her name was Terry
Sample. She was a prostitute. He was her pimp. We've been trying, but
nobody's been able to find her for the last 18 hours.
SAM: Waverly might have tried to move in on Terry like he did with Jennifer,
but he didn't realize they both had boyfriends later on.
NATHAN: Except he killed Hernandez.
SAM: Tonight is the solstice moon.
BAILEY: You got an address?
(JOHN walks in. His arm is in a sling, and he's ready to go.)
JOHN: 1652 Goodland. Just came in. So do we, uh ... go find Terry Sample, ...
(BAILEY turns to smile at SAM.)
JOHN: ... or do we need a couple of minutes here to enjoy the fact that I'm
back?
(SAM rolls her eyes.)
CUT TO:
[INT. APARTMENT #36]
(BAILY knocks on the door. He, NATHAN and SAM stand outside the door. There's
no answer.)
BAILEY: No warrant. You phone Judge Pauling?
NATHAN: It's on his desk.
BAILEY: Then he's on our side.
(BAILY and SAM surround the door while BAILEY kicks it open. Inside is dark.
BAILEY walks into the room. On the wall, they see the jaguar painting.)
BAILEY: You were right on it, Sam.
(She looks around the room. On the dresser are melted candles.)
NATHAN: (o.s.) Got it.
(NATHAN walks in with the note and the piece of straw. He gives it to BAILEY.)
BAILEY: (reading)
"When man, just half and not complete,
joins the whole in heaven's seat."
SAM: Wait. Bailey, read that again.
BAILEY: (reading) "When man, just half "and not complete, joins the whole in
heaven's seat."
SAM: Joins the whole? The whole?
(Series of Quick flashes: One by one through the victims. End of flash.
Resume to SAM.)
(She figures the connection out.)
SAM: The whole woman. There's a poem that I read somewhere that they talked
about the different phases of a woman's life, and it went from child to young
woman to sexual woman to mother to old crone. That's what he's trying to do.
He's trying to make a whole woman, and in order to do that, he needs these
specific types. He needs one of each.
NATHAN: One of each? There are hundreds of types.
SAM: No, look. Look at what he does. The other night, he tried to take an
exotic dancer, right? But her boyfriend got in the way, so what did he do? He
grabbed a prostitute. They're both sexual women. It's the type that he's going
after.
BAILEY: Doris Everett's the mother, Candy Bruckner the young girl, Terry the
sexual woman, and Julie Rafer the 60-year-old with the mind of a child.
SAM: That's his collection, and once he's got them all, he'll have a woman
complete.
BAILEY: And tonight they die.
(BAILEY turns and leaves the room.)
FADE OUT.
FADE IN.
[INT. FBI - VCTF]
(JOHN opens the file and looks at the notes.)
JOHN: Forensics has been going over that ice cream truck for the last twelve
hours straight. They finally found this behind one of the freezers. Get a load
of this.
JOHN: (reading)
"Clean and new, the infant sun,
though still unformed, her soul begun.
The siren's lure, the ache of need,
gives way to life, the fertile seed."
Last, "frail of bone and weak of knee,
a woman whole, she comes to be."
JOHN: It's describing the stages of a woman's life. You were right, Sam.
BAILEY: We also got ahold of this. It's a book devoted to a religion called
Tooahmah. One of the big three. Origin's in the caribbean. It's a dead
religion. In any case, it's all there -- the jaguar, god's head, goat's blood,
and this.
(He points to the strawman on the screen.)
(SAM looks at the screen, then looks down at the many pieces of straw the notes
came attached with.)
JOHN: Anyway, to cut to the chase here, the deal seems to be this Tooahmah guy
and his circle of women all have to die together. That way, he ascends to
heaven whole and complete and gets to be the big enchilada.
(She starts to put the straw pieces together to build her own straw figure. She
stares at it.)
SAM: He becomes god.
JOHN: The hours are tough, but the perks ...
NATHAN: Got it. We got an address on Waverly's foster mother. Last name's
Stookey, Erin Stookey. If she's in, she's not answering the phone. And, uh, we
got about five hours until the solstice moon.
(BAILEY stands up and gets his jacket.)
BAILEY: Let's roll on this, folks.
(SAM gets to her feet.)
SAM: John, you should be in bed.
JOHN: Yeah, well, don't get me started. Listen, Sam, I just read this guy's
records. It reads like a Poe novel. After his mother died, went to a string of
foster homes, and that's where the fun started -- torture, beatings ...
SAM: Yeah, well, it takes a lot to make one of these guys.
JOHN: Yeah, well, that's the point. This guy's dangerous.
SAM: You're not worried about me, are you?
(NATHAN interrupts.)
NATHAN: Oh, looks like you're gonna miss out on this one, huh, buddy?
JOHN: Miss out? Ha. I'll let you guys go and do the dirty work, ok? I've got
a masseuse lined up, and Bertolucci's is delivering a gourmet pizza in 45
minutes.
SAM: Well, I guess I won't worry about you.
(NATHAN smiles at JOHN.)
AGENT: (b.g.) Everybody, let's move.
(BAILEY walks down the steps toward SAM.)
BAILEY: Sam. He's still one shy on his circle of women. He's got the child,
virgin, sexual woman, mother ... no old lady.
(JOHN watches as everyone leaves. He remains behind, alone in the bullpen.)
CUT TO:
[INT. STOOKEY RESIDENCE -- NIGHT]
(BILL WAVERLY is leaning forward, dressing the woman sitting in the chair in
front of him..)
BILL WAVERLY: You see, foster mommy? Told you everything was gonna work out in
the end. You should have had a little more faith in me. If you hadn't been so
impatient, you could've waited for the rest of us to die. Oh, well. Always
were the pushy sort, weren't you? Oh. There you go. The perfect old woman ...
weak of knee.
(He turns the chair around and we see the dead body of his foster mother.)
(BILL WAVERLY pushes an IV unit in front of him and positions it next to a
woman tied up in her chair.)
BILL WAVERLY: All right. Listen up, people! I've taken great steps to make
sure that this is gonna be as painless as possible. It is called ... sodium
pentobarbital.
(He pulls the IV bottle up in the air and laughs at his cleverness.)
BILL WAVERLY: Now, from what they say ... it's just like we're all gonna go to
sleep for a while.
(The kidnapped women are sitting on their knees on the floor, drugged. Each one
of them has an IV on the back of her hand.)
(He looks out the window at the moon to make sure he does this at the right
time.)
BILL WAVERLY: I hope they're as excited about this as I am. It's gonna be a
few more minutes now.
(He turns around.)
BILL WAVERLY: We have to wait for the Solstice Moon.
(He walks upstairs.)
CUT TO:
[EXT. STOOKEY RESIDENCE - NIGHT]
(OFFICER cars gather outside the STOOKEY residence. They disburse and surround
the house.)
(BAILEY gets out of the car.)
[INT. STOOKEY RESIDENCE - NIGHT -- CONTINUOUS]
(BILL WAVERLY reaches the second floor landing where he has the candles lit and
jaguar picture on the wall. He kneels down next to the IV bottle. He rolls up
his sleeve and puts in his own IV.)
[EXT. STOOKEY RESIDENCE - NIGHT -- CONTINUOUS]
(The OFFICERS surround the house. BAILEY motions to the OFFICERS.)
[INT. STOOKEY RESIDENCE - NIGHT -- CONTINUOUS]
(Inside the house, the women start to chant and hum.)
(Unbeknownst to BILL WAVERLY, BAILEY enters the house, gun drawn. SAM and a
line of OFFICERS follow him in quietly. BAILEY motions for the OFFICERS to go
around.)
(Up on the second floor, BILL WAVERLY prepares to die.)
(BAILEY peers around the corner and sees the set-up. The women are on the first
floor sitting in a circle with their Ivs all linked to the same bottle held high
above them. WAVERLY is on the second floor.)
(BAILEY aims.)
BAILEY: Put it down, Waverly.
BILL WAVERLY: (gasps) Um, you're much too late.
(SAM steps out and talks with WAVERLY.)
SAM: Bill, wait. You've made a mistake. The whole is not complete.
BILL WAVERLY: Oh, I have them all. You're wrong.
(BAILEY moves around, his gun on WAVERLY.)
SAM: No, you don't have them all, Bill. You don't have the mother.
BILL WAVERLY: Yes--yes, I do. There she is right there.
SAM: No. Bill, Ann Everett never gave birth to a child.
BILL WAVERLY: That's not true. I saw them together. She's got a daughter.
(NATHAN takes position and also has his gun on WAVERLY.)
SAM: Yes, but her daughter is adopted. It won't work. You'll kill them all
for nothing. Don't do it.
BILL WAVERLY: We'll see.
(WAVERLY starts the IV drip.)
(NATHAN aims. At BAILEY'S signal, he shoots.)
(The IV bottle shatters.)
BAILEY: Everybody move in!
(The OFFICERS rush up the stairs and apprehend WAVERLY.)
BILL WAVERLY: It's not fair! It's not fair! I had it all planned out!
Everything was planned out! It's not fair.
(They bring him down the stairs. He turns to look at SAM.)
BILL WAVERLY: Please don't tell my mother. She has so little faith in me as it
is. Please.
(They lead him outside. Other OFFICERS help the drugged women. SAM turns in
time to see BAILEY helping JULIE RAFER, the 60- year old woman with
Alzheimer's.)
JULIE RAFER: Can I go to the carousel now?
BAILEY: Do you know where you are, Julie?
(SAM turns and sees the dead body.)
JULIE RAFER: In the park. Can I go to the carousel?
(BAILEY helps JULIE out.)
BAILEY: Sure, tomorrow. Tomorrow I'll take you on the carousel.
JULIE RAFER: You promise?
BAILEY: I promise.
(The OFFICERS lead JULIE out. BAILEY stands in front of SAM.)
SAM: You intend to keep that promise?
BAILEY: Why not? I haven't been to a carousel in years.
(BAILEY turns and leaves the house.)
CUT TO:
[EXT. THE FIRE HOUSE - NIGHT]
[INT. SAM'S PLACE -- NIGHT]
(SAM is sitting on the couch leafing through a magazine. ANGEL kneels down to
look at her sculpture. SAM finishes the magazine and puts it on the side. She
sees CHLOE'S picture and picks it up to look at it. Really look at it.)
(She gets up and walks over to ANGEL.)
SAM: Did you see this?
(ANGEL stands up and looks at the picture.)
ANGEL: No.
CHLOE: You don't have to be scared of anything, ok? Trust me.
(They turn and see CHLOE talking to her doll as they sit on the side. They both
go down the side.)
CHLOE: She's getting real good at going down. She still knows we have to walk
up, though.
(SAM kneels down and holds CHLOE to show her the drawing.)
SAM: Yeah? I want to ask you something. Are you finished with this drawing?
CHLOE: (nods) Mm-hmm.
SAM: Chloe, who's this?
(SAM points to something in the picture.)
CHLOE: The man from my dreams.
SAM: Why is he in the house?
CHLOE: Because he was. He was there ... the day daddy went away, and he was
going outside.
(SAM turns CHLOE around to look at her.)
SAM: Chloe ... sweetie ... you told me that you were in bed. Now, how could
you see a man inside the house?
CHLOE: I didn't want to tell anybody, but I heard a noise.
(Quick flashback to: CHLOE'S on the bed when she hears something. She gets up.
End of flashback. Resume to present.
CHLOE: I didn't hear the tv any more, so I didn't know if daddy was in the
living room.
SAM: And you saw a man leaving the house?
CHLOE: (nods) At first I didn't think he saw me, but then he stopped to look
at me.
(Quick flashback to: CHLOE backs away slowly. She's looking up at someone.
There's heavy footsteps coming toward her. There's a man in a black leather
jacket. End of flashback. Resume to present.)
SAM: Did he talk to you, Chlo? Did he say something?
CHLOE: No, he just took his fingers to his lips and went ...
(Quick flashback to: Close of JACK'S MOUTh.)
JACK: Shhh ...
(End of flashback. Resume to present.)
(SAM holds CHLOE.)
SAM: Chloe, why didn't you tell me?
CHLOE: (crying) Don't be angry, mommy. I'm sorry. We don't have to tell
anybody else in the world. I'm sorry.
(SAM holds CHLOE.)
SAM: It's ok, Chloe. I'm not mad. It's ok. I'm not mad. It's ok.
(Camera lingers on CHLOE'S picture with special emphasis of the MAN in BLACK in
the house standing next to her dad.)
(The picture turns a blue hue while the figure of the MAN in BLACK remains in
color.)
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
1X07: NIGHT DREAMS
ORIGINAL AIR DATE ON NBC: 11/16/1996
TRANSCRIBED FROM DVD
ALLY WALKER as Dr. Samantha "Sam" Waters
ROBERT DAVI as Agent Bailey Malone
JULIAN McMAHON as John Grant
ROMA MAFFIA as Grace Alvarez
MICHAEL WHALEY as Nathan Brubaker
PETER FRECHETTE as George Fraley
ERICA GIMPEL as Angel Brown
CAITLIN WACHS as Chloe Waters
Created by: CYNTHIA SAUNDERS
Executive Producers: IAN SANDER
Executive Producers: KIM MOSES
Guest Stars
STEPHEN LEE as NOTW
VERNEE WATSON JOHNSON as Linda Firestone
DEBI A. MONAHAN as Jennifer (Stripper)
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: CYNTHIA SAUNDERS
Directed by: IAN TOYNTON
==========================
END CREDITS
==========================
Sanders/Moses Productions
NBC Studios
NBC Enterprises
Also Starring
EVE BRENNER as Julie Rafer
with
TOM KENDALL as Bouncer
MACLOVIO PEREZ as Laine Harman
STAN ABE as Reporter
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: BRUCE CARTER
Second Assistant Director: JEFF KAY
Costume Designer: TOM McKINLEY
Production Supervisor: ROBERT E. WOZNIAK
Camera Operator: THOMAS YATSKO
First Asst. Cameraman: BUTCH PIERSON
Dolly Grip: RICK MAXEY
Production Sound Mixer: KEN SEGAL
Second Second Assistant Director: LAURA SYLVESTER
Location Manager: RHONDA BAER
Gaffer: VANCE TRUSSELL
Key Grip: RONN COONEY
Construction Coordinator: ANDREW MOORE
Transportation Coordinator: STEVE ZERWECK
Script Coordinator: ERNIE ORSATTI
Special Effects Coordinator: LARRY FIORITO
Art Director: JEREMY A. CASSELLS
Art Department Coordinator: JANIENE KURI
Costume Supervisor: SUSANNA T. SANDKE
Set Decorator: RICHARD REAMS
Property Master: BLANCHE SINDELAR
Make-up Artist: CRISTINE CHADWICK
Hair Stylist: TAMMY KUSIAN
Production Auditor: BETHANY BROWN
Script Supervisor: JANEL F. REEVES
Production Coordinator: JANE EVERETT
Assistant to Executive Producer: NICHELLE M. PROTHO
Assistant to Writers: MADELINE BELL
Assistant to Producer: KIMBERLY DICKENS
Computer Graphics: PAUL LeBLANC
Video Playback: BOB MORGENROTH
Insert Coordinator: CRAIG FELLER
Assistant Editor: MONICA GILLETTE
Post Supervisor: LYNN STEVENSON
Post Coordinator: GINA LAMAR
Supervising Sound Editor: PETER AUSTIN
Music Editor: KIM NAVES
Re-Recording Mixers: MIKE GETLIN / DEAN OKRAND / BILL THIEDERMAN
Main Title: SUZANNE KILEY
Telecine: MACE JOHNSON
Da Vinci: RICK DALBY
Optical Online: ROGER AMES BERGER
Autopsy Equipment Provided by SHANDON LIPSHAW
The characters and events depicted in this program are fictional. Any
similarity to actual persons, living or dead, or to any actual events is
coincidental and unintentional.
Executive in Charge of Post Production: JOSEPH DERVIN, JR.
(c) 1996 National Broadcasting Company, Inc. All rights Reserved.
Executive in Charge of Production: JOHANNA PERSONS
==========================
DVD DISCLAIMERS:
==========================
(c) 2003 NBC, Inc. All Rights Reserved. Art and Design (c) 2003 A&E Television
Networks. All Rights Reserved. Marketed and distributed in the U.S. by New
Video. NBC and the Peacock Design are Registered Trademarks of the National
Broadcasting Company, Inc. Profiler, its characters and related Trademarks are
Property of NBC Studios, Inc.
aetv.com
Dated:12/04/2003~lky
http://www.webphilia.com/~anthology/wnp.html