PROFILER 1X08: CRUEL AND UNUSUAL ORIGINAL AIR DATE ON NBC: 12/14/1996 TRANSCRIBED FROM DVD Written by: SIBYL GARDNER Directed by: IAN SANDER Transcript by Intrepid Courtesy of http://www.webphilia.com/~anthology/wnp.html Please do not archive this transcript without permission from the Transcriptionist. ========================== 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: Sam and the team investigate a series of murders whose victims were connected to the conviction of a murderer on death row. ========================== PROFILER 1X08: CRUEL AND UNUSUAL ========================== FADE IN. [CLOSE UP: LIPS] (A woman applies red lipstick to her lips. WOMAN: Don't look at me like that, Ronnie. I'll only be gone a few hours. (She puts the lipstick back on her vanity and picks up her perfume bottle.) WOMAN: Stop pouting. I mean it. Ok? (She applies two sprays of perfume to her cleavage. She puts it back on the vanity counter. She kisses the air.) [INT. BEDROOM - NIGHT] (THE WOMAN stands up and passes the black German Shepherd watching her get dressed. She heads for the closet and removes the dry cleaning wrapper from her dress.) WOMAN: When I get back, we'll go for a walk. (She buttons her dress.) WOMAN: Oh, he'll like this. It shows lots of cleavage. (She smoothes the front of her dress down with the palms of her hands. She puts the dry cleaning wrapper in her purse and cleans up her hair appliances by tucking them into her bag. She reaches out and opens the storage box near the bed and takes out a lighter. She flips it on, then off. She tucks that into the bag also.) [EXT. THOMPSON HOUSE - NIGHT] (Outside the house, A PERSON spray paints a big black X on the wall of the house.) (Inside, PHYLLIS THOMPSON kisses her husband good bye.) PHYLLIS THOMPSON: Bye. (She grabs her things and walks out the front door.) (The PERSON waiting in the shadows turns on his tazer gun. PHYLLIS THOMPSON steps out from the porch out the front.) (The PERSON fires the tazer gun. It hits PHYLLIS THOMPSON in the back. She falls down. The PERSON turns off the tazer gun. He tosses it into the PHYLLIS THOMPSON'S bag, picks it up and grabs the rods off the woman's back.) (The PERSON puts a wire mesh over PHYLLIS THOMPSON and hauls her off.) (Camera swings back to her husband inside the house, then to the side to focus on the big black spray painted X on the house wall.) FADE TO END OF TEASER ROLL TITLE CREDITS FADE IN. [INT. SAM'S PLACE -- NIGHT] (SAM sits on the couch talking with COOP on the phone.) SAM: Yeah, but, Coop, I mean, how do you kill ninteen people and not have a fingerprint on file anywhere? (pause) No, Jack's prints didn't match anything: Not military, not criminal, nothing. (pause) Yeah, I miss you, too. All right, I'll, uh ... I'll talk to you over the weekend. Ok. All right. Bye. (SAM hangs up.) CUT TO: [INT. JACK'S PLACE] (The door opens and JACK walks in. He shuts and locks the door behind him. He puts his bag down on the table and removes something wrapped in a black plastic bag. Camera moves around JACK'S work table where we see a toy plastic laser gun and a newspaper clipping: "JACK OF ALL TRADES" ESCAPES. The subheadline reads: Handicapped man left dead in train station.) [CUE SOUNDS: HEAVY BREATHING] (JACK carries the black plastic bag to the freezer. He opens the freezer and puts it in the back. We also see some necklaces hanging in the freezer.) (JACK picks up an old ice cream container. He opens it and sniffs it. He puts it back in the freezer, then shuts the door.) (JACK picks up the phone and dials the old rotary phone. He's calling someone. The phone rings.) CUT TO: [INT. SAM'S PLACE -- NIGHT] (SAM is sitting on the couch scraping the bottom of an old ice cream container, yes it's the same kind that JACK had in his freezer. The phone rings. She answers it.) SAM: Hey. (pause) Oh, hey, Bailey. (clears throat) No. (pause) What kind of cage? CUT TO: [EXT. WOODS -- NIGHT] LEGEND: NORTH FALLS STATE PARK OHIO (A car drives up to the scene.) (There are OFFICERS everywhere as they scour the area.) (SAM and JOHN exit the car. JOHN holds the flashlight for SAM as they make their way to the crime scene.) (They meet up with BAILEY who is already there standing in front of a woman in a small cage.) BAILEY: A couple of horseback riders found her this afternoon. Local police think it might be some kind of cult thing. Pretty freaked. They're not used to this level of violence. JOHN: And we're supposed to be? SAM: How long has she been out here? GRACE: She's been dead less than 12 hours and out here a few days before that. JOHN: Any idea who she is? BAILEY: No I.D. On the body. Nothing yet off missing persons. SAM: Asphyxiated? GRACE: Well, it looks like it, but she's covered with wounds. She's got burns on her feet, on her back, lacerations to her head. JOHN: What's with her fingers? SAM: Looks like she was clawing the dirt. JOHN: Trying to get out. BAILEY: Not with this lock. JOHN: Looks like her hair. (JOHN picks up some hair from the ground.) SAM: Was it cut off? GRACE: I don't know. I have to examine it in the lab. I think she was pulling it out. It's one big clump. (SAM nods.) JOHN: What the hell is this? (JOHN finds a switch and turns it on. It activates a strobe light.) GRACE: Ooh. Ooh, that would drive me crazy. (SAM turns to look at the woman in the cage.) (Quick flashback to: The WOMAN in the cage screams, pulls out her hair and claws at the dirt with her fingernails. End of flashback. Resume to present.) SAM: Maybe that was the point. Someone wanted her to go insane. CUT TO: [INT. FBI -- AUTOPSY ROOM] (GRACE and SAM walk over to the body. GRACE explains what she's found.) GRACE: We found 6 prints on the dry cleaning bag. No matches yet. SAM: Any sexual abuse? GRACE: No, not unless he's into feet. They've got third-degree burns from some kind of flame. Maybe to stop her from running away? SAM: No, I think he probably did that after he got her into the cage. GRACE: It started with a stun gun. She's got 2 burns on her back from 50,000 volts. SAM: Well, maybe he had to knock her out to get control. GRACE: Well, she's got severe head trauma, but it's not from blunt force. I think she was banging her head against the cage. SAM: I think it was about torturing her mind as well as her body. I mean, the lights, the noise, her feet ... GRACE: Looked like she had a pretty good life before this: Designer clothes, the best dental work money could buy, cesarean scar. SAM: A mother. GRACE: Do you think he knew her? Or she just happened to be at the wrong place at the wrong time? SAM: No, the wounds are too specific. I think that the killer knew her. And I think that he wanted to hurt her before he killed her. (Quick flashback to: The tazer gun and the electric currents pass through the wire. The WOMAN falls. End of flashback. Resume to present.) SAM: It's almost as if it was an act of revenge. BAILEY: Just heard from Atlanta P.D. Someone called in a bomb threat at the train station. Said the device was in the handicapped stall. That's the same stall we found Jack's last victim. SAM: That's a nice subtle message about Coop, isn't it? No bomb, right? BAILEY: Just a note, to you. (BAILEY hands SAM the note.) SAM: "Looks like you could use a hand." (Quick flashback to: The Handicapped Man dead in the bathroom stall. End of flashback. Resume to present.) SAM: I guess we're not moving fast enough for him. GRACE: Sorry, we're busy. He's not the only sick-o on our minds. SAM: Well, he wants me totally focused on him. BAILEY: I called Coop. He's ok. SAM: Thanks, Bailey. (GEORGE rushes into the lab.) GEORGE: We just got a hit on missing persons. Cincinnati Bureau's faxing over the stats. SAM: Grace, could you -- (SAM hands the note to GRACE.) GRACE: Oh, yeah, I'll get right on it. CUT TO: [INT. FBI - VCTF - COMMAND CENTER] (Open on the photo and stats of PHYLLIS THOMPSON on the monitor.) GEORGE: Her name is Phyllis Thompson. She's a clinical psychologist. Husband reported her missing four days ago. SAM: She was a psychologist? GEORGE: Yeah. They've been harassed for the past two months, filed 8 police reports. BAILEY: What were they on? GEORGE: Well, the night she disappeared, this was painted on the house. (The photo of the "X" on the wall goes up on screen. The photos change as GEORGE explains.) GEORGE: A week before, broken windows, and the whole time, they were getting weird stuff in the mail, like this stuff. (Photos of a headstone and a death certificate appears on screen.) JOHN: Any matching M.O.s? GEORGE: (sighs) Not this century. BAILEY: First impressions? SAM: Well, there are two things going on here. Psychologically, we have someone who creates a total state of fear. (The photo of the woman in the cage appears on screen.) SAM: He enjoys taunting and forecasting death. And on a physical level, he tortures before he kills. JOHN: A sadist? SAM: Mmm, but it isn't sexual. (She takes a couple of steps forward.) I think it's about control or revenge. Where was Phyllis Thompson's practice? GEORGE: The outpatient clinic, St. James Hospital, Cincinnati. BAILEY: Check her patient list, John. Sam, let's talk to the husband. (BAILEY and SAM head out of the office.) CUT TO: [EXT. THOMPSON RESIDENCE -- DAY] (MR. THOMPSON is scrubbing the wall when BAILEY and SAM walk up to him.) BAILEY: Mr. Thompson? (MR. THOMPSON doesn't stop scrubbing the walls. BAILEY puts a hand on his shoulder to get his attention.) BAILEY: Mr. Thompson, can you tell us where your wife was going when she disappeared? MR. THOMPSON: She got a call from a patient. Someone upset. (He turns to look at the wall.) MR. THOMPSON: It won't come off. I got to get it off. I can't stand looking at it. (SAM watches as MR. THOMPSON dips his brush in the bucket and continues scrubbing the wall.) (Quick flashes of: The black spray-painted "X" on the wall. The black spray- painted "X" on the back of the woman in the cage. PHYLLIS THOMPSON kisses her husband goodbye as seen through the window. End of flashback. Resume to present.) (MR. THOMPSON continues to scrub the wall.) SAM: You--you know what you could do? You know what you could do? (SAM puts her hand on his arm to get his attention. He stops scrubbing.) SAM: You could paint over it. (He looks at the wall.) MR. THOMPSON: Yeah, maybe this wall. Just this section, yeah. (He looks at SAM. She nods.) MR. THOMPSON: That'd work. Thanks. BAILEY: The person who called your wife, was it a man, woman? MR. THOMPSON: Philly didn't say, but whoever it was, was a fake, the cops said. BAILEY: Can you show us where she was abducted? MR. THOMPSON: Um ... (MR. THOMPSON reaches for the rifle resting up against the wall. Both BAILEY and SAM notice the move.) (He walks past them toward the front of the house.) MR. THOMPSON: (upset, crying) The police said that ... it happened right here on the side of the road. Just right around here. (As soon as they turn the corner of the house, a large black german shepherd barks and growls at them, startling them.) MR. THOMPSON: Dwayne! Dwayne! Calm down. (The dog calms down slightly. MR. THOMPSON leads BAILEY and SAM to the front of thehouse.) MR. THOMPSON: Sorry about that. BAILEY: It's ok. We needed the adrenaline rush. MR. THOMPSON: It's ok, good boy. BAILEY: Was Dwayne out here the night Phyllis disappeared? MR. THOMPSON: Yeah. BAILEY: Was he chained? MR. THOMPSON: No. At night, we don't chain him. BAILEY: How did someone get past Dwayne? MR. THOMPSON: He probably threw a bone to Dwayne. SAM: Did your wife ever mention any patients that she was afraid of? MR. THOMPSON: She didn't talk much about her work -- um, professional ethics, I guess. But there were a couple guys who kind of worried her. Um, Monty was one, and--and--and, I don't' know, Jim or Jack or something. (BAILEY'S eyes flicker at the mention of Jack's name. SAM nods.) (There's a creaking sound. They all turn and see the little girl on the swing. MR. THOMPSON rushes toward his daughter.) MR. THOMPSON: Where's Jenn? DAUGHTER: She's out in the front. (He rushes around the front of the house and stands in front of JENNIFER ANN. He starts shouting at her at the top of his lungs, unmindful that BAILEY, SAM and the other workers are there watching.) MR. THOMPSON: (shouting) Jennifer Ann! What are you doing out here?! Told you never, never, never to go anywhere by yourself! What is wrong with you?! (SAM looks up and notices the bars on the windows. The van and workers are from the SLAVIN ALARM SYSTEMS / COMPUTERIZED ELECTRONIC SECURITY company.) (They turns and watch MR. THOMPSON put the rifle down on the ground, kneel in front of JENNIFER ANN, hold her and cry.) CUT TO: [EXT. FBI BUILDING (STOCK) - DAY] [INT. FBI - BAILEY'S OFFICE -- DAY] (SAM picks up her big salad and starts picking at it.) SAM: I've stopped being thrown every time someone mentions the name Jack. BAILEY: I get thrown too. I wake up in the morning thinking about the Bastard. (BAILEY works on his hot dog as SAM picks at her salad.) BAILEY: Please pass the mustard. SAM: Here. (SAM hands him the mustard bottle and scrunches her face at his hot dog.) SAM: Do you know what's in those things? BAILEY: Sometimes, denial's a good thing. (He adds more mustard to his hot dog.) Let's get back on Phyllis Thompson. SAM: If it was a patient, I know how she must've felt. One of my first patients was a guy named Jerry Pape. After his first visit, I knew he was a little out there. On his third visit, he gave me a lucky rabbit's foot and I thought ... huh ... He's a little sweetie, he has a crush on me. Then, I saw the rest of the rabbit over the pocket (she laughs). BAILEY: True love. SAM: Hmm. Part of me was determined to stay and help him and the other part just wanted to run for the hills. BAILEY: What did you do? SAM: I passed him along to someone more experienced. And I felt like a complete failure. BAILEY: I'm glad you survived and ... (SAM rolls her eyes.) SAM: Ego. (The telephone rings. BAILEY answers it.) BAILEY: (to phone) Malone. (JOHN knocks on the door and walks into the office.) SAM: Did you have any luck at the clinic? JOHN: After I made a few threats. What is it with these people? You'd think it was the pentagon, the way they try and hide their files. SAM: Well, if you were a patient, you'd probably appreciate it. JOHN: I'm investigating a murder, Sam. BAILEY: (to phone) What time? JOHN: Sorry. BAILEY: (to phone) Give me the address again. JOHN: Uh, she had a -- a violent patient named Lenny Krupak, hung himself a couple of days ago. Sounds like he could've been the guy. (BAILEY hangs up the phone.) BAILEY: Not unless he came back from the dead. Just found another victim. (They all look at each other.) BAILEY: Tennessee. (BAILEY gets to his feet.) CUT TO: [EXT. - NIGHT] [EXT. LARSON STATE PARK -- NIGHT] LEGEND: LARSON STATE PARK TENNESSEE (The team is at the site where another woman is in a small cage.) GRACE: She's got the same "X" on her back and burns from the stun gun. BAILEY: Is there anything on her feet? GRACE: No, her feet are fine. The killer used the same kind of dry cleaning bag. (SAM notices the handcuffs on the woman's wrists.) SAM: Phyllis Thompson wasn't handcuffed. GRACE: And she wasn't outside as long as Thompson was. BAILEY: Could be changing his M.O., doing them quicker, less brutal. GRACE: I don't think so. Take a look at this. (GRACE shines the flashlight on her eyes. They're bloodied.) BAILEY: Oh. JOHN: What happened to her eyes? SAM: Why would he want to blind her? (Camera holds on SAM.) FADE OUT. FADE IN. [EXT. LARSON STATE PARK -- NIGHT] (GRACE fills BAILEY in.) GRACE: The same kind of cage. Company's called Sutherland equipment. They sell wholesale to kennels and animal shelters. BAILEY: And then, occasional psychopaths. GRACE: Women need to know about this, Bailey. He's going from state to state. BAILEY: I've already got it wired, Grace. We got to be careful. We don't want to start a panic. JOHN: The police found clothing fibers in the victim's car. We also got a name here: Marilyn Norville. She's a teacher from Chattanooga. She and her car disappeared at the discount mart parking lot two days ago. (As JOHN talks, BAILEY sees SAM standing off alone, apart from everyone. He heads toward her.) (He settles behind her. SAM turns and glances at BAILEY, then turns back to look out into the dark.) SAM: Why here? BAILEY: Secluded ... far away from people. SAM: Yeah, he doesn't do too well with people. He does better with animals. Didn't have any trouble getting past Dwayne. BAILEY: Why these women? What do they have in common? SAM: Maybe it's what they don't have in common. Why would he try to blind one and drive the other one crazy? Maybe he's angry at them for different reasons. (BAILEY shakes his head.) CUT TO: [EXT. FBI BUILDING (STOCK) - DAY] [INT. FBI - BULLPEN -- DAY] (SAM walks through the bullpen as BRAD fills her in.) BRAD: I spoke to Marilyn Norville's husband. Past couple of months they've been harassed just like Phyllis Thompson. Poor guy doesn't even leave his house anymore. Basically, same thing: "X" spray painted on the house, broken windows. SAM: Thank you, Brad, thanks. (SAM turns and heads to her office.) [INT. FBI - SAM'S OFFICE - DAY - CONTINUOUS] (SAM looks at the photos of the victims, their houses, their crime scenes.) (Quick flashes of: PHYLLIS THOMPSON'S unhandcuffed hand hanging out of the cage. MARILYN NORVILLE'S handcuffed wrists. The tazer. The bars on the windows. End of flashes. Resume to SAM.) (SAM thinks about it.) [INT. FBI - BAILEY'S OFFICE - DAY - CONTINUOUS] (SAM enters BAILEY'S office.) SAM: Bailey, I need you to listen to this and tell me if it makes sense. I think that these crimes are about prison. I mean, everything the victims went through has something to do with being in prison: The stun gun, the handcuffs, the bars on the cages. BAILEY: Keep going. SAM: Well, there's no connection between the victims -- I mean, at least not an obvious one -- but look at Adam Thompson. I mean, he's a prisoner in his own home. And all of the victims ended up prisoners in cages. Now, who uses a stun gun? BAILEY: Cops, prison guards. You think we're looking for someone who works at a prison? SAM: No, it's more like they're experiencing what it's like to be a prisoner. I think that he's blaming them for his experience. BAILEY: Like it's their fault he once went to prison? SAM: Yeah. BAILEY: Ok, so who's responsible for putting people in prison? We've got police, prosecutors, judge, jury. SAM: Maybe they served on the same jury and convicted him. BAILEY: I'll have George check it out. (SAM turns to leave. BAILEY reaches for the phone.) CUT TO: [EXT. FIRE HOUSE - RAINY NIGHT] [INT. SAM'S PLACE -- NIGHT] (SAM closes the door. She gets into bed, but doesn't immediately go to sleep. The alarm goes off.) CUT TO: [EXT. FBI BUILDING (STOCK) - DAY] [INT. FBI - BULLPEN -- DAY] (GRACE meets up with SAM as she walks into the office.) GRACE: Sam, you want to look at something? SAM: If I can keep my eyes open. GRACE: Why? You couldn't sleep? SAM: No. My daughter Chloe has been having nightmares, and, I don't know, it just worries me. GRACE: Well, how old is she? SAM: She's seven. GRACE: Aw, you know, 7-year-olds have nightmares all the time. I used to have nightmares at 7 years old. You know, you grow out of it. She'll be all right. [LAB - DAY -- CONTINUOUS] (They enter the lab. SAM: Did you ever want to have kids? GRACE: Yeah, I did. But my ovaries, they had other plans. But, you know, I got the last laugh. I raised 3 poodles who think they are kids, except I get to put them out in the backyard with a nice little bowl of water and go to the movies. You can't do that with a kid, huh? SAM: No, you can't. (GRACE turns to the baggied article from JACK. The headline reads: "JACK OF ALL TRADES" ESCAPES. The subheadline reads: Handicapped man left dead in train station. The hand-written note on the article reads: LOOKS, LIKE YOU COULD USE A HAND. She turns on the black light and a print appears on the paper.) GRACE: Now take a look at this. This is a note from the train station, all right? Ok, come here. Take a look at this. (GRACE turns to the computer to show the print comparison with a 99.97% probability match.) GRACE: This is a perfect match to the print on the victim in the train station. SAM: Which matches nothing. GRACE: It's got to be Jack's prints. What else could it match? SAM: Can you run all of the prints at all of his crime scenes? Even the victims? I don't know, maybe we missed something. GRACE: Sure, I can do that. SAM: Great. Thanks. CUT TO: [INT. JACK'S PLACE -- DAY] (JACK is sanding down something when he skips and injures himself.) JACK: Ow! (He uses a pick tool and tries to dig it out. JACK: Ow! (He tosses the tool aside. He picks up some sand paper and sands down his nail.) CUT TO: [INT. FBI - BULLPEN -- DAY] (BAILEY and SAM walk through the bullpen on their way to the Command Center.) BAILEY: Sam, the link between Norville and Thompson, you were right. They were both involved in the same trial ten years ago. A guy named Ronnie McDern. He's on death row in North Carolina, set to be executed tomorrow at midnight pending a final appeal. [COMMAND CENTER - DAY - CONTINUOUS] (They walk into the Command Center and take their seats. A photo and stats of Ronnie McDern is on the monitor.) JOHN: Meet Ronnie McDern. Norville and Thompson both lived in North Carolina. In '85 and '86, both testified against him in his murder trial. GEORGE: He and a partner robbed a convenience store. McDern blew away the clerk and a customer for no reason at all. And neither one of them ever even saw McDern or his partner. Their backs were to them the whole time. JOHN: Clerk did everything they said. Gave them the money, didn't move, didn't speak. GEORGE: Marilyn Norville saw the whole thing. She testified against him at his trial. She nailed his ass. (Quick flashback to: In the convenience store, MARILYN NORVILLE is walking through the aisle with her basket when she hears the commotion. RONNIE MCDERN: Against the wall! (Through the mirrors up on the corners, she sees the robbery taking place.) PARTNER: Turn around! RONNIE MCDERN: Against the wall! (RONNIE MCDERN opens the cash register and removes the money. MAN: Don't move! (They start to leave. On their way out, RONNIE MCDERN shoots and kills the two men. She sees everything. RONNIE MCDERN grabs a package of potato chips, takes a last look, then leaves.) (End of flashback. Resume to present.) SAM: That's why he tried to blind her. JOHN: And Phyllis Thompson testified that he was sane when he pulled the trigger, which wipes out his insanity plea. SAM: So he drove her insane. BAILEY: He didn't. He's behind bars thirty-six hours from meeting with the hangman. JOHN: We'll see. He's already had a couple of trials and a string of appeals. Thirty-six hours is a long time. SAM: Especially if you're seeking revenge. When was his last appeal denied? GEORGE: Two months ago. When the harassment started. SAM: What's the method of execution in North Carolina? BAILEY: Guess. (SAM turns and looks at the photo on the monitor.) (Quick flashes of: MARILYN NORVILLE. Of the plastic bag around her head. Of PHYLLIS THOMPSON'S dead body. End of flashback. Resume to present.) SAM: Gas. It asphyxiates. (BAILEY nods.) All right, so who's doing his killing for him? GEORGE: Well, his partner, Dan Parson ... he did his time. He got out a year ago. BAILEY: John, talk with him. If he's planning on killing anyone else, he's probably harassed them like the others. George, contact everyone connected with his trials, from the judge to the bailiffs who work the courtroom, anyone with the slightest harassment. I don't care if they got bumped on line at a grocery store. I want them under protective custody. (JOHN stands up and leaves the table.) SAM: What about McDern? Who's talking to him? (SAM turns to look at BAILEY.) CUT TO: [INT. PRISON -- DAY] (The guards open the door for BAILEY and SAM.) BAILEY: I'm going to check the visitor's list. I'll meet you inside. SAM: Okay. (BAILEY checks in as the other guard leads SAM into the inner area. BAILEY shows the guard his ID and the guards hands him an envelope.) GUARD: Yes, I have it right here. (The other GUARD opens the door for SAM. He closes the door behind her.) (BAILEY watches as SAM walks in.) [DEATH ROW] (The door opens and SAM walks in. She signs in at the station and looks up. She sees RONNIE MCDERN sitting on his cot. The guard gives her her ID.) SAM: Thank you. (The GUARDS open the cell door. SAM walks inside. SAM: Mr. McDern? (RONNIE MCDERN gets to his feet. He walks over to the table and with his chained hands, pulls out the chair for SAM.) RONNIE MCDERN: (southern drawl) I hope this doesn't offend you. (SAM sits down. RONNIE MCDERN takes the opposite seat.) RONNIE MCDERN: Women's lib: In ... or out these days? (SAM smiles at him. He smiles at her.) SAM: If you don't mind, I'd like to ask you a few questions. RONNIE MCDERN: That's fine by me. SAM: I understand that you've had a pretty rough time in here. You filed a civil suit after some guards burned your feet on the asphalt. (RONNIE glances at the GUARD sitting behind the desk outside his cell. The GUARD looks up. RONNIE turns back to look at SAM.) RONNIE MCDERN: They're all healed now, ma'am. Not that it makes any difference. SAM: I saw some similar burns on a murder victim in Ohio. Phyllis Thompson. (RONNIE stares blankly at SAM. SAM meets his gaze.) SAM: You don't remember her? (He shakes his head.) RONNIE MCDERN: Should I? SAM: Well, she testified against you at your trial along with Marilyn Norville. They were both murdered recently. RONNIE MCDERN: (shakes his head) I'm sorry, ma'am. I ... I don't know anything about it. I mean, if they were at my trial ... I don't remember them. (SAM sees the mermaid tattoo on his arm.) RONNIE MCDERN: I don't think about it much at all, honestly. I try to keep my sights on the future, not the past. (She sees a second tattoo on his other arm of a woman in her underwear looking out at bars, her back to the viewer.) RONNIE MCDERN: Maybe someone read about me and got some crazy ideas. (SAM stares at RONNIE.) (Quick flashes of: SAM'S eye. RONNIE'S eyes. RONNIE'S smile. RONNIE'S handcuffs around his wrists. The two tattoos. RONNIE'S eyes. End of flashback. Resume to present.) SAM: Maybe it was someone you know. RONNIE MCDERN: I have a lot of supporters ... but they've been trying to get justice through the court. SAM: And what is your idea of justice, Ronnie? RONNIE MCDERN: Truth. People not lying about me. I was a hothead. I'll give you that. But I didn't kill nobody. It was Dan who pulled that trigger. SAM: Well, the jury didn't see it that way. RONNIE MCDERN: (wistfully) Well, they don't always see the truth. (SAM watches RONNIE carefully.) RONNIE MCDERN: And I'm paying for that with my life. But I didn't kill anybody. (The buzzer blares and the door opens. BAILEY walks in. SAM excuses herself.) SAM: Excuse me. (She stands up and leaves the cell to meet with BAILEY.) SAM: It's a woman. If anyone is killing for him, it's a woman. BAILEY: Are you sure? SAM: He's very charming, in a scary sort of way. What else would explain the stun gun? She needed to knock them out first. BAILEY: Then she just killed his Public Defender. We couldn't get there quick enough. (SAM turns to look at RONNIE. He looks up and glances back at her. Camera holds on SAM.) FADE OUT. FADE IN. [INT. PRISON -- DAY] (The buzzer blares. SAM and BAILEY are inside RONNIE MCDERN'S cell.) SAM: Did you find anything? (As he reads, SAM goes through RONNIE'S fan mail.) BAILEY: (reading) "Dear Ronnie, I miss you so much I've decided to do it. I'm leaving my husband. You were so right about everything. He doesn't understand. Even my kids don't understand, but I know you do." (BAILEY looks up at SAM.) I don't. SAM: There's a lot of lonely women out there. Look at this. (She hands a letter to BAILEY.) SAM: Ronnie McDern fan club. BAILEY: You'd think she'd touch up her roots for the picture, if she really cared. (SAM looks through the photos and finds a photo of a black "X" spray painted on the side of a wall.) SAM: Bailey. (SAM stands up.) SAM: Look at this. (BAILEY peels the photos and finds a second photo of the woman dead in her cage.) BAILEY: What do you think they are? Proof she did the job for him? SAM: Or proof of her love for him. It's probably the way they consummated their relationship. (In the background, we hear a door slide open and the hoot, hollers and whistles of the other prisoners.) BAILEY: Well, which one is she? There's dozens of them. (KATHERINE EVERS walks in.) KATHERINE EVERS: What do you think you're doing? BAILEY: Bailey Malone, Sam Waters, FBI. (BAILEY shows her his ID.) BAILEY: And you are? KATHERINE EVERS: Katherine Evers, Mr. McDern's attorney. He just informed me of your little visit. Get this straight: I don't like little visits with my clients when I'm not present. BAILEY: Your client's a suspect in a double homicide investigation. KATHERINE EVERS: Really? How convenient. You pin a couple of cases you can't solve on someone who's about to be executed. BAILEY: Both victims helped convict McDern in his original trial fifteen years ago. What do you call that, Miss Evers, a coincidence? KATHERINE EVERS: If he is under investigation for a crime, he had a right to counsel when you talked to him. Now, your behavior's outrageous. BAILEY: Give me a break. He's a convicted murderer. KATHERINE EVERS: That is my client's personal property. I'd advise you not to take it. (BAILEY and SAM ignore the thread and gather the letters.) KATHERINE EVERS: You just bought yourself a lawsuit. BAILEY: Why bother? McDern's not going to be around to collect the damages. (BAILEY heads out of the cell past KATHERINE EVERS.) BAILEY: Excuse me. (SAM also leaves the cell. As she exits the cell, hoots, cat-calls and whistles from the other inmates sound.) CUT TO: [INT. JACK'S PLACE -- DAY] (JACK works at his work table. We see various items on the table. He picks up a piece of paper and puts some glue on it. He smears the glue with the tip of his finger. He uses a tool and continues to gouge out something he's working on.) CUT TO: [EXT. FBI BUILDING (STOCK) -- NIGHT] [INT. FBI - HALLWAY - NIGHT] (GEORGE walks up to SAM and BAILEY as they arrive.) GEORGE: I just finished McDern's enemy list ... three other people were harassed. The jury foreman, the judge from his second trial, and the prosecuting attorney. BAILEY: You brought 'em under protective custody? GEORGE: Oh, yeah, it's taken care of. Yeah, we've been reading McDern's letters from these women - BAILEY: One second. GEORGE: Some of them need to be locked away. SAM: You know, well, nine times out of ten, these women have been abused. And a lot of them don't think that their men are guilty. I mean, Carol Bruth, she didn't. She fell for Ted Bundy at his trial, married him and had his child. BAILEY: You're kidding me. One of the hillside stranglers, Kenneth Bianchi's girlfriend tried to copycat a crime. Make the police think the real killer was still on the loose. She tried to kill a woman for him. SAM: But she botched the murder, and he married someone else. BAILEY: Let's meet McDern's fan club. (They walk into the Command Center.) [COMMAND CENTER - CONTINUOUS] (GEORGE is at his laptop putting the photos of the women up on the monitor.) JOHN: Number one is Rita Herrera. 32, divorced, works as a manicurist. She's been corresponding with McDern for the last eight years. GEORGE: I just don't get it. I don't know. Call me crazy. SAM: A lot of these women associate violence with masculinity. The more violent the man is, the more feminine they feel. GRACE: Take Charles Manson ... never hard up for a date. SAM: He could mesmerize women. Sort of like McDern. JOHN: Heard you thought he was charming. GEORGE: How did they do it? SAM: Well, they're natural psychologists. They're experts at manipulating human emotion. All that time in prison, they learn how to read people. BAILEY: Let's try to read these women. We've got a lot of letters and not a lot of time. (On the monitor, photos of the women flash as JOHN narrates.) JOHN: Ok, uh, number 2 is a doctor, Leslie Ryan, and why she's going for a guy like him when she could have me, I don't know. GEORGE: You know, here's something. She moved to North Carolina to be closer to the prison two years ago. SAM: Did any of the others? GEORGE: Yes, four of the others. BAILEY: Let's concentrate on them. (GEORGE puts the photos of the four women on the board.) GEORGE: And they all showed up on his visitors list for the past two months. Barbara Minetta, she's a nurse at park hills hospital. Ilene Klinger she's been protesting one thing or another ever since Vietnam. Helen Oaks is 35. She's unemployed since her move to Raleigh. And Corporal Mackensie Sutton. Stationed at an army base in Greensboro. (BAILEY reaches over and taps JOHN on his shoulder.) BAILEY: Let's check their alibis. SAM: That's not everyone. Katherine Evers is in love with him, too. CUT TO: [INT. PUBLIC DEFENDER'S OFFICE -- DAY] (At 4:20 in the afternoon, the office is busy.) LAWYER: (to phone) Just tell him we don't have until tomorrow. We need another stay. (SAM is trying to talk with KATHERINE EVERS.) SAM: Did he ever mention any of these women to you: Uh, Barbara Minetta, Helen Oaks, Mackenzie Sutton, or Ilene Klinger? KATHERINE EVERS: Uh, no. SAM: You're sure about that? KATHERINE EVERS: Yes. SAM: Would you mind just looking at these letters? KATHERINE EVERS: Do I look somewhat busy to you? I'm waiting for the ruling on an appeal that could save a man's life. Now, I don't have the time, nor the inclination to look at his correspondence at the moment. SAM: These aren't just pen pals. They're in love with him. (KATHERINE looks down at the letters and photos on the desk. She looks back up at SAM, then down at the letters again. She picks them up and hands them to SAM.) KATHERINE EVERS: Get this crap out of here. SAM: Miss Evers, I'm trying to save lives, too. One of these women may have killed for McDern. I think that he knew it and probably encouraged it. KATHERINE EVERS: Well, I think that's impossible because, you see, I know my client. And he wouldn't do that. (SAM pauses for a moment.) SAM: He used these women. And I think he's using you. KATHERINE EVERS: Get out! Now. (SAM nods. She turns and leaves. Camera holds on KATHERINE EVERS.) CUT TO: [EXT. NORTH CAROLINA STATE PENITENTIARY - NIGHT] (Outside a crowd has gathered in protest of the coming execution. SAM makes her way through the crowd. She's looking for someone.) (On the other side, BAILEY and JOHN are also walking through the crowds. He's looking for SAM. They find each other.) BAILEY: Sam! SAM: Any luck? BAILEY: Sutton was at an officer training camp the day Thompson was kidnapped. We haven't found Helen or Barbara. We've got agents at their homes waiting. SAM: What about Ilene Klinger? BAILEY: Her son said she'd be here. She's been crusading against the death penalty for years. JOHN: She got to know McDern fighting his cause ... the, uh, love came later. BAILEY: (to JOHN) Look, uh, check the perimeter. Meet me back here in five minutes. (JOHN leaves.) BAILEY: George found a match on the fingerprints from the Atlanta Train Station. They're not Jack's. SAM: Whose were they? BAILEY: His 11th victim ... Dr. Nelson. (Quick flashes of: A photo of a smiling Dr. Nelson. Flash to: A latex-gloved hand thumbing the edge of a knife. Flash to: Peeling the gloves off the hand. End of flash. Resume to present.) SAM: The doctor who delivered me? (BAILEY nods.) SAM: I'd say he's winning, Bailey. CROWD: (b.g.) Free Ronnie McDern! Free Ronnie McDern! (BAILEY looks around and sees ILENE KLINGER talking with some people.) BAILEY: That's Klinger. (He and SAM head toward her.) BAILEY: Ilene Klinger. (She turns around. BAILEY shows her his ID.) BAILEY: We're with the FBI. We'd like to talk to you about your relationship with Ronnie McDern. ILENE KLINGER: Yes, what about it? SAM: Well, we understand that you have very deep feelings for Ronnie. ILENE KLINGER: I didn't know it was illegal to care about another human being. BAILEY: Depends on how far your caring went. Where were you Tuesday night? ILENE KLINGER: Tuesday night I was at the prayer vigil, why? Would you like to know what I did every other night this week? Wednesday there was a demonstration in front of city hall, and Thursday there was a letter-writing campaign, and yesterday I spent with my divorce attorney. I was hoping it would come through. I want to marry Ronnie. I don't expect you to understand, but when you love someone, you make sacrifices. BAILEY: Like killing for him? ILENE KLINGER: What? Ronnie's not capable of murder. So why would he want someone else to? He's the kindest, gentlest man I have ever met. PROTESTER (WOMAN): Ilene? Look at this. (She hands ILENE KLINGER a note. She reads it and her face falls.) ILENE KLINGER: They've denied his stay. They're going to kill him at midnight. (She turns and looks them both, then turns and walks away.) (JOHN walks up to them.) JOHN: No sign of Helen or Barbara. Just a lot of unhappy campers. (BAILEY glances down at his watch.) BAILEY: The execution goes on at midnight. SAM: Which judge denied the appeal and lifted the stay? BAILEY: Oh, some federal judge. I got it covered, surrounded the courthouse just in case. JOHN: Was that Ilene? Shouldn't we stay on her? (SAM shakes their head.) SAM: No. She's not going anywhere. It's got to be either Helen or Barbara. BAILEY: If she can't get to the judge, who does she go after? JOHN: Who else is to blame? SAM: The person who lost the appeal ... Katherine Evers. (They look at each other.) FADE OUT. FADE IN. [INT. NORTH CAROLINA STATE PENITENTIARY - CORRIDOR -- NIGHT] (The SECURITY GUARD leads BAILEY, SAM and JOHN to RONNIE MCDERN'S cell.) GUARD: They're keeping him down here. He's on death watch. BAILEY: Wouldn't want to cheat the hangman. GUARD: Some of the other prisoners were egging him on. I wouldn't mind it myself. I'd get home for a hot meal that much quicker. (They reach the large cell. The GUARD unlocks and opens the cell door to let them inside.) RONNIE MCDERN: I don't want no trouble, but I don't feel like talking to you right now. Get me my chaplain? GUARD: Yeah. Just relax and talk to these guys. RONNIE MCDERN: What do you want? SAM: Ronnie, where's Katherine? RONNIE MCDERN: She's supposed to be here. What do you mean? BAILEY: Why don't you tell us where she is? RONNIE MCDERN: I don't know. She's ok, isn't she? BAILEY: When are you going to stop, Ronnie? Is this how you want to spend the last few hours of your life ... a liar? SAM: I know you're scared. RONNIE MCDERN: Yeah, but I want my family. (RONNI sits down. SAM kneels down to his eye level.) SAM: I think what you want is some peace. And you're never going to have that unless you start telling the truth. (They look at each other.) RONNIE MCDERN: If anyone's going psycho, it's--it's Barbara. SAM: And why is that? RONNIE MCDERN: She can't deal with the fact that I'm going to die. About six months ago, she -- she started to get weird. Asking me all kinds of things about the trial. I didn't realize why until ... well, until you came by. JOHN: Why didn't you say something before? RONNIE MCDERN: I wasn't sure. You have to find Katherine, I mean ... no one deserves to get killed. Not her. Not me. Not anyone. BAILEY: Eternity is a long time, McDern. For the sake of your soul ... I hope you're telling the truth. (The door opens. BAILEY and JOHN walk out of the cell. SAM lingers.) RONNIE MCDERN: Ma'am? (SAM looks and meets RONNIE'S gaze.) RONNIE MCDERN: You believe me, don't you? (After a long look, SAM stands up and walks out of the cell. When she steps out, she turns and looks back at RONNIE.) (The door closes behind her.) SAM: It's Helen, not Barbara. JOHN: Why? (They stop in front of the locked door.) SAM: Because from the moment I met him, he was trying to manipulate me. And he still is. JOHN: How'd he know to turn in Barbara? (The GUARD unlocks the door for them.) SAM: I mentioned their names to Katherine. She must have told him. BAILEY: We've got 68 minutes. (They walk through the door.) CUT TO: [EXT. OAKS' RESIDENCE -- NIGHT] (A car drives up the road and parks in the driveway. BAILEY, JOHN and SAM exit the car. They draw their weapons. They approach the house. They reach the front porch.) (BAILEY takes up position next to the door. JOHN holds his gun up to eye level.) BAILEY: Be my guest. (JOHN kicks the front door open. Inside, a black German Shepherd barks. JOHN stops in his tracks.) BAILEY: Ok. JOHN: Good boy. Good boy. SAM: (to JOHN) You get bit as a kid? JOHN: Atta boy. That's it, good boy. (The dog stops barking. He whimpers, then lies down.) (In the distance, another dog barks. A cat meows. SAM looks around the small house. There are framed photographs of dogs as well as other dogs and animals in her house.) SAM: She's a rescuer. (SAM steps into the next room and looks around the place. BAILEY and JOHN also look around the living room. Outside, we still hear dogs barking. A cat meows.) (BAILEY sees the photos of the women in the cages posted on the wall next to articles of the upcoming execution. Headlines read: CRIMINAL GIVEN LIFE SENTENCE.) BAILEY: McDern's not the only one who got off on those pictures. (JOHN walks over to stand next to BAILEY. He looks at the wall with multiple pictures and articles.) (In the next room, SAM finds something.) SAM: Guys! (They turn and head toward the bedroom.) SAM: Look at this. (There are two cages, one with a picture of the judge and the D.A.) SAM: Reserved for the judge? BAILEY: And the D.A. (Inside one of the cages is a long-nosed pliers.) JOHN: What are those for? (realizes) Don't take me there. BAILEY: How about Katherine? Where's her cage? Didn't Ray say that these were sold at kennels and pet shops? JOHN: Maybe she works at one. SAM: No, she's unemployed. BAILEY: These animals are from the pound. SAM: She volunteered. She couldn't stand to see them killed, so she brought them home. (Quick flashes of: The barking black german shepherd as well as the other animals. Flash to: The cage and the woman with the plastic wrap around her head. End of flashback. Resume to present.) SAM: Don't they kill stray animals with gas? BAILEY: Yeah. (Behind them, JOHN is petting a white cat in his arms.) (Quick flash to: The black spray-painted "X" on the back of the woman in a cage. Flash to KATHERINE EVERS. Flash to RONNIE MCDERN. End of flashback. Resume to present.) SAM: (thinking) She's going to kill Katherine the same way Ronnie's going to die. (JOHN checks the white cat's tag.) JOHN: They're from the Blue Ridge Animal Shelter. SAM: Let's go. CUT TO: [INT. NORTH CAROLINA STATE PENITENTIARY -- NIGHT] (RONNIE MCDERN sits on a chair in the center of the cell while the doctor listens to his heart with a stethoscope.) CUT TO: INTERCUT WITH: [EXT. BLUE RIDGE ANIMAL SHELTER -- NIGHT] (The car screeches to a halt alongside the curb. They park and get out of the car. They check the front door and find it locked.) JOHN: I'll go around back. (JOHN runs to the side and climbs up over the fence. He jumps down and starts checking the side. Dogs bark.) CUT TO: [INT. NORTH CAROLINA STATE PENITENTIARY -- NIGHT] (The priest reads rites to RONNIE MCDERN.) CUT TO: [INT. BLUE RIDGE ANIMAL SHELTER -- NIGHT] (JOHN opens the front door to let SAM and BAILEY inside.) JOHN: You know there are dogs in here. BAILEY: Don't worry, John, they're in cages. (HELEN OAKS walks down the stairs.) HELEN OAKS: Can I help you? SAM: Helen, where's Katherine? (She smiles at them.) HELEN OAKS: You can try all you want. You're never going to separate me and Ronnie. Our love is too strong. Last week we went roller skating. He wanted me to get some color in my cheeks. And we watched the sunset together. It's one of Ronnie's favorite things to do. He's so romantic. (She turns to leave.) BAILEY: Helen, we'd like you to come with us. (JOHN draws his gun on HELEN. She dares him.) HELEN OAKS: Use it. Then I'll be with Ronnie tonight. (She watches them for a moment, then makes a break through the doorway into the kennel.) BAILEY: John! JOHN: I got her. (JOHN runs after HELEN. SAM and BAILEY run up the stairs where HELEN walked down from to look for KATHERINE EVERS.) (Cut to: HELEN runs through the corridors. JOHN chases after her.) JOHN: Helen! (JOHN turns the corner and proceeds cautiously.) (Cut to: BAILEY and SAM open the door and walk through the hallway. They head for the place where they put the dogs to sleep.) CUT TO: [INT. NORTH CAROLINA STATE PENITENTIARY - NIGHT] (RONNIE MCDERN adjusts his shirt and fixes his collar.) CUT TO: [EXT. BLUE RIDGE ANIMAL SHELTER -- NIGHT] (HELEN OAKS runs out the back door. JOHN chases after her.) JOHN: Hold it! (He catches up to her and tackles her against the fence, then down to the ground. She struggles.) HELEN OAKS: Ugh! Uh! JOHN: Roll over! Roll over! (She screams.) JOHN: Your arm! Your other arm! (JOHN puts handcuffs on her.) JOHN: It's over, Helen. (In the distance, sirens wail.) (Cut to: BAILEY and SAM search the shelter for the gas chamber. At the end of the hallway, they see the door with the sign: POISON GAS AUTHORIZED PERSONS ONLY. They rush toward the door.) (They open the door and find that the gas is already on.) BAILEY: Turn off the gas! (SAM runs to the far wall and turns the gas off. BAILEY opens the chamber and pulls KATHERINE EVERS out. He removes the tape from her mouth. She coughs.) BAILEY: Come on. Breathe! Breathe! SAM: It's ok. You're ok. BAILEY: Ok. SAM: She's ok. CUT TO: [INT. NORTH CAROLINA STATE PENITENTIARY - NIGHT] (The handcuffs are put on RONNIE MCDERN'S wrists. The cell door opens. He walks out of his cell.) (Cut to: [EXT.] The GUARDS clear a path through the demonstration crowd to open the gates for the vehicles.) GUARDS: Move back, folks, move back. (Cut to: [INT.] The GUARDS escort MCDERN through the corridor. As he walks through death row, he sees the other inmates watching him.) (At the end of the hall is a doorway with a light behind it.) (Camera pushes in to the light.) (Cut to: [EXT.] The ambulance and coroner's van drives through the open gate. The guards close the gates.) (Cut to: [INT.] RONNIE'S wrists are tied to the chair, the buckles are tightened around his chest, the straps secured around his ankles.) INTERCUT WITH: [INT. FBI - VCTF - HALLWAY/BAILEY'S OFFICE - NIGHT] (SAM and BAILEY walk through the hallway.) SAM: What would you do if you only had 12 minutes left to live? BAILEY: I can't even think about it. How about you? SAM: I don't know. Guess I'd try to settle that age old question of redemption. (BAILEY uncaps the decanter and pours himself a drink.) BAILEY: What about McDern? Think he cares about redemption? (He looks at SAM.) (Cut to: The gas chamber door is closed, secured and sealed. The gas hisses. Camera holds on RONNIE MCDERN.) (Cut to: Outside, the protesters hold their candles in prayer. Various cuts of the people - A Man, A nun, ILENE KLINGER, and the crowd.) (Cut to: It's midnight.) BAILEY: If this day ever comes for Jack, would you want to be there? SAM: I don't know. (Camera pulls back on BAILEY and SAM and the empty office.) CUT TO: [INT. JACK'S PLACE - NIGHT] JACK: (on phone) No, mom ... mom, you got to keep the heat on. The nights are getting too cold. (sighs) If you need some money, I can send you some money. Yeah ... no, uh, as a matter of fact, I'm feeling pretty cozy. You know, I'm wearing those flannel PJs you sent me. (JACK turns the wheel.) JACK: (to phone) Yeah. Ha ha! (The pictures on the wheel move from BAILEY to GRACE ... ) JACK: (to phone) Uh, no, mama. Yeah. I--I love you. ( ... to NATHAN ... to ANGEL ... ) JACK: (to phone) I love you, too, mom. ( ... to GEORGE ... to JOHN ... JACK: (to phone) (sighs) Bye. (JACK hangs up. He gives the wheel a spin. In the center of the wheel is a photo of SAM.) 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 1X08: CRUEL AND UNUSUAL ORIGINAL AIR DATE ON NBC: 12/14/1996 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 GARY STRETCH as Ronnie McDern WANDA DE JESUS as Catherine Evers KIM DARBY as Eileen Klinger MICHAEL C. MAHON DEBRA CHRISTOFFERSON as Helen Oaks 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 with ERIC FLEEKS as Guard BRAD HELLER as Assistant #1 (Brad) CHELSEY BARTHEL as Little Girl Story Editor: JEAN GENNIS Story Editor: PHYLLIS MURPHY Casting: ANTHONY BARNAO Director of Photography: MICHAEL BONVILLAIN Production Designer: JONATHAN CARLSON Edited by: JON KOSLOWSKY, 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: LORIE ZERWECK 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: ANNIE BRUNNER Assistant to Producer: KIMBERLY DICKENS Computer Graphics: PAUL LeBLANC Video Playback: BOB MORGENROTH Insert Coordinator: CRAIG FELLER Assistant Editor: J.J. ROGERS 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:12/05/2003~lky http://www.webphilia.com/~anthology/wnp.html