PROFILER 1X09: SORCERER'S APPRENTICE ORIGINAL AIR DATE ON NBC: 01/04/1997 TRANSCRIBED FROM DVD Written by: KEN SOLARZ Directed by: LEWIS TEAGUE 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: The VCTF is called in to investigate two murders surrounded by mysterious events on an Indian reservation. ========================== PROFILER 1X09: SORCERER'S APPRENTICE ========================== FADE IN. [INT. CAVE - NIGHT] (Scene opens on ancient hand drawings on a cavern wall. A ceremony is taking place amidst continuous chanting and rattling sounds. The MAN rubs black paint on his darkened cheeks; the area around his eyes are painted red. He dips his fingertips into the bowl to get more paint and smears two white lines on his cheeks.) [EXT - EARLY MORNING] (Chief Red Horse, dressed in a wrap, dips a bucket into the river to get some water. He heads back to the sweat lodge.) [INT. CABIN - EARLY MORNING] (Chief Red Horse enters the sweat lodge with the bucket of water. He sits down in the center of the room in front of the hot, steaming rocks. He chants and sprinkles some water onto the hot rocks to create a cloud of steam. He lifts his head, closes his eyes and prays in his Native American Language.) (He sprinkles more water on the hot rocks to make more steam. He continues to pray.) (A gust of wind blows and a WARRIOR appears in the tent with him, behind him. He turns around and gasps with recognition.) MAN: Nakasante. (The WARRIOR raises his ancient hammer and strikes.) HARD CUT TO END OF TEASER ROLL TITLE CREDITS FADE IN. [INT. BAILEY'S HOUSE - BATHROOM -- NIGHT] (An Opera Aria plays on the stereo while BAILEY is taking a shower and singing loudly with the music. Camera moves out of the bathroom and into the next room. It lingers on a couple of framed photos on the dresser of BAILEY.) (In the next room, AN INTRUDER breaks into the house through the window, bypassing the security system. He climbs in through the window and uses the dresser as a ladder to climb into the house.) (Cut back to: BAILEY is out of the shower and is now shaving; the opera music continues.) (In the next room, the INTRUDER looks at the various items on the table -- BAILEY'S gun, keys, handkerchief, loose change, lighter, pen and money clip. The INTRUDER passes over the items to pick up BAILEY'S FBI I.D. He opens it, checks it, then walks over to the mantle place to pick up one of BAILEY'S special cigars.) (Cut back to: BAILEY'S finished shaving and walks out of the bathroom, out through the hallway and into the next room.) (Downstairs, the INTRUDER leaves unnoticed, the front door closing softly behind him.) CUT TO: [EXT. FBI HEADQUARTERS (STOCK) - DAY] LEGEND: VCTF HEADQUARTERS ATLANTA, GEORGIA [INT. VCTF -- DAY] (JOHN and an AGENT are huddled around his desk whispering like two kids conjuring up some mischief.) JOHN: Ok, man, here it is -- check it out -- best damn ball in town. AGENT: (laughing) Yeah. Go wide. All right. (The AGENT trots across the office area as if it were a football field just as JOHN pulls back his arm to throw the football. The AGENT sees SAM walk into the office and tries to warn JOHN.) AGENT: (loud whisper to JOHN) Sam! (JOHN hides the ball just in time.) JOHN: Sam! (JOHN tucks the football in his desk drawer.) JOHN: (innocently) Hey, Sam. SAM: Hey. Didn't Bailey say that we had a nine o'clock briefing? JOHN: Yeah. Well, maybe he had a late night. SAM: That's not like him. He's usually on time. JOHN: Take it as a golden opportunity. (She looks at him strangely, puzzled by the comment.) SAM: For what? JOHN: Just ... try and go with it. SAM: (smiles) Well, ok. I'll be in my office. (As soon as SAM leaves, JOHN opens his desk drawer and takes out the football again. The AGENT sees JOHN and immediately starts moving across the office.) AGENT: Cut to the left. Over to the right. (JOHN stands up and throws the ball. The ball soars high across the office. The AGENT moves to catch the ball and crashes into some bins. Behind him, MADDY DUVALL catches the football.) MADDY DUVALL: Watch out! AGENT: (groans) Oh, man! (MADDY holds the football high in triumph at the catch.) MADDY DUVALL: (smiling) How many points do I get? (JOHN looks sheepishly busted. BAILEY walks into the office and picks the football out of MADDY'S hand.) BAILEY: Two ... for making the catch, six for saving his hide. Know how much the government charges us for office supplies? (BAILEY tosses the ball back to JOHN.) BAILEY: (to JOHN) Keep it where I can't see it. (to MADDY) Maddy, sorry I'm late. (They shake hands.) MADDY DUVALL: Oh, I just got here myself. (SAM walks out to meet with them and BAILEY introduces her.) BAILEY: Sam Waters, Maddy Duvall. MADDY DUVALL: Hello. I've heard a lot about you. SAM: Nice to meet you. (BAILEY introduces JOHN.) BAILEY: Second string draft choice here is John Grant. JOHN: Hey. Nice catch. MADDY DUVALL: Five older brothers. BAILEY: Maddy's our Native American Liaison with the B.I.A. Well, let's do this in the conference room. (pointing to the mess) Somebody clean this up, please. (They move toward the Conference Room.) [HALLWAY TO CONFERENCE ROOM] SAM: (to BAILEY) Everything ok? BAILEY: Yeah. Just misplaced my I.D. wallet. SAM: You lost your credentials? BAILEY: It's gotta be around somewhere. SAM: That's unlike you to misplace things, Bailey. BAILEY: It'll show up. JOHN: Better hope so, or you're looking at a lot of red tape. (They enter the conference room.) [CONFERENCE ROOM - CONTINUOUS] (MADDY stands in front of the screen as photos of the burnt building is shown. Everyone sits at the table.) MADDY DUVALL: This is where it started: A one hundred-year-old ceremonial meeting room located on the Minnewasca reservation in Illinois. It was burned to the ground. JOHN: Arson? MADDY DUVALL: Well, at first, we didn't think so. As you can see, there wasn't much left to investigate. GRACE: Were any forensics done to determine the presence of accelerants? MADDY DUVALL: The minnewascans are not a wealthy tribe. They kept the investigation in-house, handled by the reservation police. (A close-up photo of a colony of termites goes up on the monitor.) MADDY DUVALL: Two days later, the tribal council building became infested with termites. SAM: You think there was a connection? MADDY DUVALL: Not until two weeks later, when the same things began to happen on the Chaochi Reservation in Missouri. SAM: So it's the same person? MADDY DUVALL: All the incidents occurred at night, same M.O., nobody is ever heard or seen coming or going. JOHN: And nobody ever called in the police? MADDY DUVALL: Reservation police are police, Mr. Grant. JOHN: (mutters) You know what I meant. MADYD DUVALL: Yes, I think I do. B.I.A.'S been handling this. It's over our heads now. Unless we can get some skilled help -- (BAILEY gets to his feet.) BAILEY: (interrupts) You know as well as I, Maddy, the F.B.I. Doesn't have such a great record when it comes to reservation cases. Sometimes just our presence makes things a lot worse. (Ignoring the comment, MADDY turns to the monitor.) MADDY DUVALL: (louder) May I have the next slide, please? (A new slide of a smiling MAN is put up on the screen.) MADDY DUVALL: Two weeks ago, the Chief of the Proudfoot tribe in Kentucky was murdered. (A slide of the dead body is shown.) MADDY DUVALL: At first, we didn't tie it in to the other incidents, and then it started again on the Zaca Reservation in Arkansas. Burned buildings, dead cattle, insects, and three days ago, another chief was murdered. SAM: Like whoever it is, is on a roll. It isn't gonna stop now. BAILEY: We'd be putting our necks at risk just crossing into the reservation. SAM: Well, it's not unusual for us. JOHN: We don't get any points for not showing up. CUT TO: [EXT. (STOCK) - DAY] LEGEND: ZACA RESERVATION ARKANSAS [EXT. ZACA RESERVATION -- DAY] (MADDY drives the team out to the reservation which consists of several trailers parked closetogether. It is apparent that living conditions are down in the poverty level. They approach a drive leading toward trailer. Hanging on the side of the road on beams are clothed dummies.) SAM: What's that? MADDY DUVALL: Spirit chasers. JOHN: A simple welcome sign would have done the trick. MADDY DUVALL: Do you believe this? They do it to ward off evil spirits. It's nearly the end of the 20th century. (MADDY parks and exits the car. She takes out a huge knife and cuts the figures down.) MADDY DUVALL: The only evil that's here is man's work. Not ghosts. SAM: It must be difficult for you. MADDY DUVALL: What's that? SAM: Oh, trying to juggle both worlds. MADDY DUVALL: Tradition can coexist in the modern world. It has to if we're going to survive. (Someone throws a rock and breaks the window of their car. Immediately, JOHN and BAILEY both draw their guns as they duck behind the car. SAM and MADDY rush toward them as they see the back of a young man running off toward the trailer.) MADDY DUVALL: I didn't recognize him. (JOHN picks up the rock from inside the car and tosses it to BAILEY.) JOHN: Looks like they know we're here. (They watch as the Police Chief's truck approaches. CARL SMYTHE gets out of the truck.) MADDY DUVALL: Carl "Two Mules" Smythe. CARL SMYTHE: Looks like B.I.A. brought the F.B.I. and needs the A.A.A. I see you've been officially welcomed. (BAILEY holds up the rock as MADDY makes the introductions.) MADDY DUVALL: Bailey Malone, John Grant, Sam Waters. Carl's the police chief out here. CARL SMYTHE: Sorry about that, folks. Not everyone around here thinks the F.B.I. is the best way to handle our problems. JOHN: And you? CARL SMYTHE: Hell, I'm a cop who knows when he's in over his head. I'd take help from John Wayne and the Cavalry if they rode in. (She turns to the two "spirit chasers".) MADDY DUVALL: Carl, how long has this been happening? CARL SMYTHE: Pretty much since Chief Red Horse has been murdered. And it's not getting any better. (He picks them up off the ground and puts them in the back of his truck.) CARL SMYTHE: Nakasante's getting real popular around here. SAM: Nakasante? BAILEY: It's The Reclaimer, Angel of Death. It's a spirit, not a man. That's what the people are afraid of around here. (to CARL) Have you been able to arrange a release on the chief's body? CARL SMYTHE: For autopsy? That's a big word around here -- and a bad one. Been fighting for it. Can't say I'm having much luck. SAM: It's very important that we get a look at the body. CARL SMYTHE: Miss Waters ... some things are sacred -- that includes the dead. BAILEY: Well, to be honest, Carl, it's pretty hard to conduct a murder investigation without forensics. Is there someone I can speak to? CARL SMYTHE: Yeah. There are six people you can speak to. Tribal council. They're the folks you gotta convince. MADDY DUVALL: Carl, if we're gonna make it out to those crime scenes, you oughta leave while the sun's still up. I'll take Bailey out there. CARL SMYTHE: My truck doesn't have the ventilation flow-through Maddy's got, but, uh ... the music's better. (MADDY DUVAL laughs.) (They split up into groups. MADDY and BAILEY head for her car.) MADDY DUVALL: (to BAILEY) You mind sitting in the back? [INT. CARL'S TRUCK] (CARL gets into the truck. SAM'S in the passenger seat while JOHN'S in the back.) JOHN: It's pretty quiet around here. Did I come during super bowl? CARL SMYTHE: People are pretty flinchy around here nowadays. Lot of rumors, lot of ghost stories. JOHN: They're afraid of us. (CARL starts the engine and backs up the drive to get onto the road. SAM watches as the few people take cover. A MAN heads back into his trailer and closes the door behind him; red paint brushed on and around the doorway. She sees it on other trailer doors as well.) CARL SMYTHE: Yeah, that, too. SAM:: What's the red paint? CARL SMYTHE: Goat's blood. It's to keep Nakasante away. (He pulls out.) (As he drives, he explains NAKASANTE to SAM.) CARL SMYTHE: Nakasante gave our people ten times ten times ten years to make the earth green and the rivers flow. Doesn't look like we're going to the head of the class. JOHN: For that, you die? CARL SMYTHE: You're reclaimed ... to the afterlife. Dying isn't always death. JOHN: Yeah, well, it was in my neighborhood. (In front of the truck, a black panther crosses their path. CARL stops the truck, admiring the cat.) CARL SMYTHE: I haven't seen a cat this close to town years. (They watch as the panther leaps up to the rock near SAM'S open window, roars, pauses and calms down, staring at her.) CARL SMYTHE: (to SAM) Looks like you made a friend. (CARL continues on. The panther also continues on its way.) CUT TO: [EXT. SITE -- DAY] (CARL shows SAM and JOHN the lodge.) CARL SMYTHE: This is a Stone People Lodge, commonly known or called "Sweat Lodge." Chief Red Horse lived over there back in the trees. Every morning, he would walk down here and up to the lodge. [INT. SWEAT LODGE - CONTINUOUS] (SAM walks into the lodge and looks around. She kneels down in front of the hot stones.) (Quick black and white flash of: CHIEF RED HORSE and NAKASANTE.) (Quick black and white flash of NAKASANTE wielding a tomahawk and striking CHIEF RED HORSE. End of flash. Resume to present.) (JOHN reaches out and lightly touches SAM'S shoulder. She's startled and turns around.) JOHN: You all right? SAM: Yeah. Can't you knock? JOHN: On a blanket? SAM: (laughs) Ha. JOHN: Ok? SAM: Yeah, I'm fine. (He helps her to her feet and they exit the sweat lodge.) [EXT. SWEAT LODGE -- CONTINUOUS] SAM: Carl, you said that the Chief was killed here but that his body was moved? CARL SMYTHE: To a field about three miles from here. JOHN: Were there any footprints or tracks? CARL SMYTHE: No, just Chief Red Horse's entry in the lodge. JOHN: Any idea how he managed that? CARL SMYTHE: No. (MADDY drives up in her truck and stops in front of them.) MADDY DUVALL: (to CARL) There's a problem at the tribal museum. CARL SMYTHE: What's the problem? MADDY DUVALL: Leon Fox and about two dozen others, they're holding the Manager inside. I need a little backup. CARL SMYTHE: What do they want? MADDY DUVALL: They're trying to perform a ceremony to appease Nakasante. CARL SMYTHE: Great. MADDY DUVALL: Yeah, Leon's ranting about how we should never have left the old ways. He says that by turning our heritage into souvenir stands and trying to attract white men into the reservation, that's the cause for all that's happening here. JOHN: Where's Bailey? MADDY DUVALL: He's trying to talk them down, but he asked me to pick you up. CARL SMYTHE: Let's go. MADDY DUVALL: No, Carl. Leon's been telling everyone how you brought the F.B.I. onto the reservation, how you betrayed your own people. If you show up with John, its just going to make things worse. Why don't you go on with Sam? If I need you, I'll get you on the radio. JOHN: You be all right? SAM: Yeah. JOHN: Ok. See you. Yeah. (JOHN gets into MADDY'S car and they leave.) CUT TO: [EXT. FIELD -- SUNSET] (CARL shows SAM the site.) CARL SMYTHE: Twenty head of cattle: Stone dead, laid end to end, tails tied together. SAM: Any idea what killed them? CARL SMYTHE: At first glance, I'd say it was escoo. SAM: What's escoo? CARL SMYTHE: Made from local plants. It's a traditional poison, used sometimes by our hunters. SAM: You ran tests? CARL SMYTHE: Ha. Checked their tongues. Escoo turns the tongue blue. Once you see it, you don't forget that. SAM: Were there any visible wounds on any of the animals? CARL SMYTHE: None that we could find. SAM: And you checked the water in the trough? CARL SMYTHE: Clean as a whistle. (SAM looks down into the gulch.) SAM: Carl, what's down there? CARL SMYTHE: Show you. (He leads her down into the gulch.) CARL SMYTHE: It's called the River of Tears. "River" may be too strong a word for it, though. Might have been at one time. (They reach the bottom and she looks around.) SAM: (admiring) It's beautiful. What is that? CARL SMYTHE: Stone Cairn left over from the great battle. Pond was supposedly created by the tears of the dead, whose spirits still look after and protect the little ones. SAM: Carl, is this pond sacred? CARL SMYTHE: Yeah. This is where most of the little ones are consecrated. (SAM kneels down by the "river".) (Quick black and white flash to: The Sweat Lodge. CHIEF RED HORSE. The termites. The Stone Caim. The dead cattle. End of flash. Resume to SAM.) SAM: Carl ... is there any way you could take a sample from this water and compare it to the tissue sample from the dead cattle? CARL SMYTHE: Think whoever it was put the poison in the pond also? SAM: Yeah, I think he might've. CUT TO: [EXT. ZACA TRIBAL MUSEUM -- NIGHT] (BAILEY, JOHN and MADDY DUVALL meet with LEON FOX outside the ZAZA TRIBAL MUSEUM while a ceremony is being held inside. The Manager 's hands are bound above his head and tied to the thick wooden beam. Others beat tribal drums.) BAILEY: Holding a man hostage, Leon, is not gonna do much to further your cause. LEON FOX: Our cause? Is that what you think this is, a cause? We're trying to save our lives and the lives of our families. BAILEY: I understand, Leon, but this isn't the way. LEON FOX: You understand? BAILEY: I understand there's nothing supernatural behind what's going on here. Let the Manager go. He has nothing to do with any of this. LEON FOX: So you're here to show us the way, is that it? Like you've always shown us the way? It's too late for your ways. JOHN: We're trying to help you here, man. LEON FOX: You wanna help us, go home. Get off the reservation. This doesn't concern you. You're not welcome here! MADDY DUVALL: Leon, come on. (In the back of the museum, the wall hanging catch fire.) MAN: Fire! (The people inside scramble and head for the door.) BAILEY: The Manager. JOHN: Right behind you. (BAILEY and JOHN head inside the museum to get the MANAGER. They cut him loose and they exit the burning museum.) BAILEY: You ok? THE MANAGER: Oh, ok, ok. (JOHN looks at the burning museum, then turns to look at BAILEY.) JOHN: You ready to rethink your position on the supernatural? (The museum continues to burn.) FADE OUT. FADE IN. [EXT. VCTF HEADQUARTERS (STOCK) - DAY] [INT. VCTF - BAILEY'S OFFICE -- DAY] (BAILEY shuffles around file folders on his desk looking for his I.D. JOHN walks into the office.) JOHN: No luck, uh, finding your I.D.? BAILEY: Tore my house apart last night. Went through every corner of this building. It's gotta be somewhere. JOHN: Or it's gotta be lost. BAILEY: It's not lost. You wake up in the morning, where's yours? JOHN: Top right-hand drawer in the dresser. BAILEY: Always, right? JOHN: Always. BAILEY: Ok. It's probably the same for everyone who works here. JOHN: Until you lose it. (Something in JOHN'S voice makes him suspicious.) BAILEY: This is some kind of joke, right? JOHN: (shakes his head) No. BAILEY: (smiling) You've got it, right? JOHN: (insistent) No, I haven't. I haven't got it. I swear. (BAILEY'S smile falls. He continues to look through his stuff.) BAILEY: (gruff) What do you want? JOHN: Sam's video conference from the Proudfoot Reservation's all ready to Rock 'n' Roll. BAILEY: Oh, yeah. JOHN: Fifteen minutes? BAILEY: Yeah, yeah, yeah. (JOHN leaves the office.) CUT TO: [INT. JACK'S PLACE] (JACK takes a drag from his cigarette and blows out a stream of smoke. He has the Polaroid camera on timer. It flashes.) (Cut to: JACK cuts out the photo and glues it over BAILEY'S I.D. picture. He waves the I.D. card waiting for the glue to dry.) CUT TO: [INT. VCTF - VIDEO CONFERENCE ROOM] (SAM is on the monitor video conferencing with JOHN and BAILEY.) SAM: I'm pretty sure that the man we're looking for is a Native American. JOHN: Anyone can get on the reservation, can get access to the pond. SAM: Yeah, but why wouldn't they put the poison in the trough? I think they poisoned the pond because they wanted to attack something sacred. They were attacking tradition itself. Bailey, do you have that series of photographs we discussed? BAILEY: Yeah. These photographs were taken on three of the reservations that have been hit. We've got Indian Hospital, Police Station Fire Station New Elementary School. All very modern, very up-to-date. SAM: You see, I don't think that the rage we're seeing here is directed at the people, per se. I think it's directed at custom. BAILEY: I think so, too. If he wanted to hurt the tribe, why not pick one of the more modern facilities? If you just wanted to kill cattle and scare people, why poison the pond and not the trough? SAM: This is anger at tradition. JOHN: Something from his childhood? SAM: Yeah, probably -- there was a case in '87. It was the Gennaro case. BAILEY: I worked it. They kept him locked in the basement for two years, forced him to recite constant prayer and confession. SAM: Right. Alfred Gennaro was a priest killer. He targeted his rage at the church -- the fundamentalist church in particular. JOHN: So you think we're looking for the same thing here: A Native American subjected to some kind of religious and traditional child abuse. SAM: Yeah, well, I don't think an outsider would place enough value on these traditions to target them. JOHN: Did you find anything on the Proudfoot Reservations? SAM: Yeah. It's pretty much the same as the Zaca. Everyone is terrified. They're blaming everything on Nakasante. JOHN: The Proudfoot have Nakasante, too? SAM: All the tribes that were hit are descendants of the Honi -- they all share the same basic religious beliefs. GRACE: Is that common knowledge? BAILEY: It is to whosever doing this. Sam, do you have anything else? SAM: No, not really. I'm having a lot of trouble on this one. There isn't much documentation on Nakasante. BAILEY: When are you flying back? SAM: I've got a flight in an hour. I'll see you guys back at the reservation, I guess. JOHN: We'll keep the wagons in a circle. CUT TO: [INT. VCTF - FORENSIC LAB] (GRACE goes over her findings with BAILEY.) GRACE: Both Chiefs were killed with the same sort of blunt weapon-- rounded, two inches in diameter, like a hammer handle without the hammer ... here. (GRACE hands BAILEY the report.) BAILEY: Could be a war club. GRACE: Hmm? BAILEY: It's a weapon, Grace. Mostly ceremonial, but once used in ritual battles. GRACE: Oh, and what is that bit about leaving the Chief's ears intact? BAILEY: That's how I convinced them to release the body. I told them you'd leave the ears. He was a great hunter and scout when he was alive. It's their belief he'll need his ears to remain alert in the afterlife. You have the toxology report on the pond water and the cattle? GRACE: Mm-hmm. Sam was right. I found the same poison in the pond that I found in the cattle. CUT TO: [EXT. PROUDFOOT RESERVATION -- DAY] (SAM is on the phone with CHLOE.) SAM: (smiling) (to phone) Mm-hmm, did you have fun? I ... I miss you, too, Babygirl. (pause) All right, honey. Well, mama will be home as soon as she can, all right? So you be good. Ok. Big kiss. All right. (SAM hears a large cat growling. She looks and sees the black panther just outside the phone booth. The cat stops and stares at SAM.) SAM: (to phone) Bye-bye. (SAM looks at the cat as she hangs up the phone. The cat turns and saunters away.) (SAM gets her purse and follows the cat.) (After a moment, SAM comes upon a cabin. She walks over to it and looks around.) [CABIN] SAM: Hello? Hello? (SAM peers into the windows. A MAN walks around the side of the house and startles her.) UNCLE JOE: May I help you? SAM: Oh ... I'm sorry. I, um--I didn't mean to intrude. I was -- my name is Sam Waters. UNCLE JOE: I know your name. I expected you to find your way here. They tell me you have powerful medicine. SAM: Well, forewarned is forearmed, I guess. UNCLE JOE: Good looks and ... brains, too. Come on in. (He holds open the blanket over the door. She hesitates; he goes inside anyway. She follows.) SAM: (mutters) Sure. [INT. CABIN] (Inside, UNCLE JOE stands near the television set on which a basketball game is playing.) UNCLE JOE: I hope you're not a basketball fan. (He turns the tv off.) SAM: Well, I know who Michael Jordan is. UNCLE JOE: Sure. Who doesn't? (He motions her inside.) Come on in. Everyone is welcome in the House of Joseph. My relatives call me Uncle Joe. Sit down. (SAM sits down.) SAM: Thank you. UNCLE JOE: I was in the purification lodge last night. The rocks told me you would come. SAM: There was a cat -- a panther. UNCLE JOE: Black, with yellow eyes. SAM: Yes. Is he yours? UNCLE JOE: Heh ... is she mine? She is your spirit, Miss Waters--a guide. You and her have chosen one another 'cuz you are connected ... in here. SAM: It's funny. I wasn't afraid. It's as if I knew she wouldn't do me any harm. UNCLE JOE: You have great vision. You see into the spirits of men. Your vision troubles you. Sometimes, you feel it is better not to know. SAM: A lot of what I see is very dark. UNCLE JOE: You suffer, too ... not from what you see, but from a terrible loss. A shadow follows you. You will have to battle that shadow. You may fail. SAM: How do you know all of this? UNCLE JOE: We both search for the truth. You have your diplomas and your duties. I have thousands of years of history, and the great mystery is with me. CUT TO: [INT. ZACA TRIBAL MUSEUM -- DAY] (JOHN walks in and sees BAILEY kneeling on the floor.) JOHN: No word from Sam yet. Her plane arrived on time. Maybe she got stuck in--in traffic or something. (He looks around.) Anything here? BAILEY: I found some hot spots across the floor. No ignition devices yet. I've got an arson team coming in. JOHN: ooo ... Think they'll find something? BAILEY: You starting to buy into this ... Nakasante? JOHN: Well, you know, having some of this wild stuff makes police work a hell of a lot easier. I mean, how many times would you like to say to the Press that after extensive investigation, folks, we've decided that the whole thing is chalked up to Evil Spirits. (BAILEY doesn't say anything.) CUT TO: [EXT. UNCLE JOE'S CABINE -- DAY] (SAM and UNCLE JOE make their way back through the woods.) SAM: You don't believe that what is happening is caused by Nakasante, do you? UNCLE JOE: Heh...not unless he has an oil company credit card. Nakasante doesn't need gasoline ... to make his prophecies come true. The evil here ... is the evil of a man. (SAM'S quiet.) UNCLE JOE: Go ahead. You can say it. SAM: Say what? UNCLE JOE: You believe this man comes from my people, but you are afraid to offend me. SAM: Yes, I do ... but I believe that he was an outcast, that he was abused by very traditional, religious parents or people. UNCLE JOE: Then he must come from the Honi. SAM: But I think he comes from the Zaca, specifically. He's done more crime here than on the other reservations. I think that he's come home to finish what he started. CUT TO: [INT. ZACA TRIBAL MUSEUM] (MADDY DUVALL goes through the damaged property while BAILEY examines the structure on a ladder. She holds up a damaged basket.) MADDY DUVALL: (to BAILEY) Look at this. Beautiful, isn't it? Such a waste. (BAILEY climbs down from the ladder.) BAILEY: These were in pretty good shape. MADDY DUVALL: Oh, yeah. I'm glad something is. We're never gonna get this guy. BAILEY: We'll get him, Maddy. MADDY DUVALL: Yeah, but how much else has to happen before we do? How many people have to die? JOHN: (o.s.) Bailey? (JOHN steps into the building.) JOHN: Sam's on the horn. (He points outside and notices MADDY'S disposition.) BAILEY: (to MADDY) We'll be right back. (BAILEY steps outside. Before he follows, JOHN tries to cheer MADDY up.) JOHN: (softly, encouraging) Hey. (JOHN leaves.) (MADDY looks around at the destruction and shakes her head. As she looks around, she sees something on the floor ... in the floor. She scrapes away the dirt and grim and lifts up one of the floor boards.) CUT TO: [EXT. ZACA TRIBAL MUSEUM] (BAILEY is on the radio with SAM.) BAILEY: That's great, Sam. From who? SAM: His name is Uncle Joe. He's the Zaca Brujo. BAILEY: Ok. See you later. (BAILEY hangs up and hands the radio to the officer. He heads back into the museum and looks around for MADDY.) (She's not there.) BAILEY: Maddy! ... Maddy?! (Camera holds on BAILEY.) FADE OUT. FADE IN. [INT. VCTF - COMMAND CENTER] (A photo of MADDY DUVALL is on the monitor as JOHN discusses the case with GRACE.) JOHN: Listen, I am telling you, Maddy dropped off the face of the planet. Nobody's seen her on the reservation. Her car's still there. Besides, if she had just wandered off, we would have seen her. GRACE: Yeah, well, that's what I'm saying. It doesn't make any sense. There were no tracks coming out of the museum. It was muddy. She would've made tracks. (BAILEY walks into the room.) JOHN: So how do you suggest I write up this sit rep -- "Woman abducted by thousand-year-old Indian Spirit"? GRACE: Yeah. Ok? JOHN: Thanks. (BAILEY puts up photos of three men.) GRACE: Who are they? BAILEY: The nakasante. JOHN: Three guys? What, they're a gang? BAILEY: No, only one of them, but they were all taken from their parents on the Zaca Reservation, put in foster homes by Family Services. They fit Sam's profile, and they're all on Uncle Joe's list. GRACE: For child abuse? BAILEY: Yes, but a particular kind. Jimmy Blue Heron was kept in a closet and made to recite the Zaca Ceremonial Prayers ten hours a day. JOHN: I thought catechism was tough. BAILEY: Samuel Ageesi was branded with tribal symbols, and Donald Crews was whipped by his father for going to the Reservation Hospital. GRACE: Going to the doctor's a whipping offense? BAILEY: He was gonna take his mother to see an oncologist who was visiting from the city. It was supposed to be a secret. When his old man found out, he took them both into the sticks for a traditional cure. The mother died. JOHN: So ... would that make you hate the old ways enough to destroy them? BAILEY: Blue Heron is in the army. Ageesi's a D.A. in Los Angeles, but Donald Crews just finished a two-year jolt in the state pen for assault and mayhem. He was released two months ago. JOHN: The Minnewasca Ceremonial Room was torched in Illinois two months ago. So, where's Crews now? BAILEY: Back where he was born -- Zaca Reservation. Now, I just spoke with Sam and Carl. They checked Crews' trailer -- nothing. From all appearances, he hasn't been home in months. JOHN: He's traveling. BAILEY: Possibly. The ceremony for Chief Red Horse's passing is tonight. Strong possibility Crews is going to show up, admire the result of his handiwork. JOHN: We should be there. BAILEY: We will be. CUT TO: [INT. BAR -- NIGHT] BARTENDER: (to MOLLY) Can I get you something? (MOLLY SARGUCCI sits at the bar putting a cigarette to her lips.) MOLLY SARGUCCI: Gin and tonic. (She looks in her bag for a light. Someone sits next to her and flicks on his lighter for her. She lights her cigarette.) MOLLY SARGUCCI: Thanks ... but it's only fair to tell you I'm waiting for someone. (JACK slips the ID wallet on the counter in front of him. She glances down at it.) MOLLY SARGUCCI: Have I done something wrong? JACK (AS AGENT MALONE): I don't know. Would you like to? Free pass. Today only. (She laughs.) MOLLY SARGUCCI: I am waiting for someone, Agent ... JACK (AS AGENT MALONE): Malone. I could wait with you. How would that be? (She laughs again.) JACK (AS AGENT MALONE): Bartender. BARTENDER: Right away, sir. JACK (AS AGENT MALONE): My friends call me Jack. (She smiles at him.) CUT TO: [EXT. CHIEF RED HORSE'S FUNERAL -- NIGHT] (BAILEY, SAM and JOHN stand respectfully on the side watching as the funeral procession passes by them.) SAM: It was beautiful. We've lost this in our world -- a contact with something timeless. CARL SMYTHE: If Crews was here, I didn't see him. SAM: I think I'm going to head back over to Uncle Joe's. Can I - JOHN: I'll come with you. SAM: No, John, that's ok. I think the both of us would be just pressing his hospitality. JOHN: You sure? SAM: Yeah. I'll be fine. I'll see you later. BAILEY: Ok. (SAM leaves.) CARL SMYTHE: She's a handful. BAILEY: Two handfuls, but worth six times that. CUT TO: [EXT. UNCLE JOE'S CABIN - NIGHT] (Establish.) [INT. UNCLE JOE'S CABIN -- NIGHT] (UNCLE JOE pours two cups of tea.) UNCLE JOE: You know, evening tea is the traditional gathering to talk about the day. It's important. You know, I think the English copied the Red Man on this one. (He carries the cups over to the fire and hands one to SAM.) SAM: Thank you. Uncle Joe, we've been looking for one of the men on the list of names you gave us ... Donald Crews. No one's seen him for weeks. UNCLE JOE: And you've come to find out how Nakasante ... makes himself invisible. SAM: Yes. Do you believe in the Legend of Nakasante? UNCLE JOE: Of course. It's a powerful legend. Such deep beliefs come from hard experiences long, hard experiences. SAM: So you believe that Nakasante can change into various forms, that he can make himself invisible. UNCLE JOE: Of course ... and I think you believe it, too. CUT TO: [INT. CAR (MOVING) -- NIGHT] (CARL finishes his radio conversation. BAILEY and JOHN are also riding with CARL.) CARL SMYTHE: (to radio) Yeah, I got it. Thanks. We'll head over there now. (He hangs up.) Crews has a cousin--George, hangs out at a pool hall just outside the reservation. It's worth a shot. (BAILEY nods. In front of them, they come across another hanging figure.) BAILEY: Carl, stop the car. (The car pulls up in front of the hanging figure.) BAILEY: You got a flashlight? CARL SMYTHE: Yeah. JOHN: What is it? BAILEY: Looks like a spirit chaser. Same thing Maddy cut down the other day. (BAILEY and the others get out of the car. When they get close enough, they see that it is MADDY.) JOHN: Oh, no. BAILEY: Oh, Maddy ... Help me get her down. (They cut her down from the tree.) CUT TO: [INT. UNCLE JOE'S CABIN -- NIGHT] (SAM and UNCLE JOE talk.) UNCLE JOE: I have many secrets. Secrets I can only reveal to someone respectful. Do you mind if I choose you? SAM: Why me? UNCLE JOE: Because you believe. You believe what you see, and you don't let your mind get in the way. Besides, I'm the Chief of Chiefs, and I can do what I damn well like. (SAM chuckles.) Now, come on. Come with me. SAM: Where? (SAM'S vision blurs.) UNCLE JOE: (echo-y) Let's go on a dream together. (She shakes her head trying to clear it.) SAM: Oh, I can't. I have too much work to do. I can't think about sleep right now. (UNCLE JOE gets fuzzy as SAM fights to stay awake.) UNCLE JOE: Come on ... just a little nap. (UNCLE JOE continues to get fuzzy and his voice echo-y.) UNCLE JOE: As men, we can only see the world through a man's eyes. There are other eyes that see what we cannot ... like the hawk. If we are free ourselves from earthbound view, perhaps more will become clear. Become the hawk, Sam. (SAM'S eyes are closed and she's transported to another place high above the land where she sees green mountain top and where the clouds are beneath her.) UNCLE JOE: (v.o.) See what the hawk sees. (Dissolve to: A close up of the Hawk's eye.) SAM: (v.o.) It's dark. (A Hawk soars overhead.) UNCLE JOE: See it in the light. Fly with me. I am with you. (Overlay: Various images of what a hawk would see.) UNCLE JOE: You won't fall. SAM: What is it? UNCLE JOE: What the hawk sees, he sees with heat. He sees into the heart. He sees the land ... living and dying. (She is shown a particular place.) SAM: I see lines. Heat ... under the earth. FADE TO WHITE: [ZACA STATION] (Back at the station, SAM explains what she saw to BAILEY, JOHN and CARL.) SAM: Yes, tunnels. JOHN: And you saw these while you were flying, through the eyes of a hawk. Did your arms get tired? SAM: All right, look, you can make fun of me all you want. Now, I cannot explain what I saw, but I saw it. Look, it would also explain how Crews gets from scene to scene without leaving footprints. CARL SMYTHE: Well, grandma used to tell me that in the old days, when our land was under siege, the people sought refuge under the earth. (Quick flashes of: The hot rocks in the sweat lodge, Steam. The eye of the hawk. The Hawk's view of the tunnels. End of flash. Resume to SAM.) CARL: No one ever took those stories literally. (SAM looks at BAILEY. BAILEY doesn't hesitate.) BAILEY: Carl, can you get me a map? Not something modern, something old. Ancient. CARL SMYTHE: The words "ancient" and "map" don't exactly go together around here. SAM: Well, Carl, there must be something. I mean, if your grandmother knew the stories-- (He thinks about it and remembers something.) CARL SMYTHE: Deer hide drawings. They were at the museum. If they didn't burn, we got 'em here. (CARL stands up to get them.) CUT TO: [LATER] (CARL unrolls the deer hide on the table.) CARL SMYTHE: You're looking at the pre-colonial Zaca empire. At least, according to these stories. We are about here. BAILEY: What is it you actually saw, Sam? SAM: They were like thin blue lines under the earth. Sort of like veins. It's like they were emanating from the center of something. JOHN: How many lines did you see? (Quick flashes of: The hawk soars up in the sky. The hawk's eye. The bird's eye view of the map. End of flash. Resume to SAM.) SAM: There are about six of them. It was sort of like a pinwheel. JOHN: Could that be it? (JOHN points to a small pin-wheel shaped symbol on the map. She looks at it.) SAM: Could be, yeah. BAILEY: Can you pinpoint this spot, Carl? (He pulls out a modern map and compares the two.) CARL SMYTHE: Assuming the major landmarks are still where they were. I'd say on this map, this would be north ... which would make this the bend in the little fork river. That'll be the western ridge. I'd say ... this is your spot. (He taps a point on the map.) CARL SMYTHE: The hub was the center of the old village. BAILEY: What is it now? CARL SMYTHE: Same thing it always was ... the house of the wisest man. Sam, you just came from there. CUT TO: [INT./EXT. UNCLE JOE'S CABIN -- NIGHT] (SAM rushes into the cabin, BAILEY and CARL follow her inside. The place is a mess and shows signs of struggle.) SAM: Uncle Joe. BAILEY: Crews has got him. He's acting out the legend. Carl, where is that sacred place? CARL SMYTHE: Again, according to the old stories, there's supposed to be an underground grotto used for ancient ceremonies. BAILEY: That brings us back to the tunnels. Now, we've got to find these tunnels. JOHN: (o.s.) Bailey! Sam! (They walk outside looking for JOHN.) BAILEY: John. (JOHN steps out of the open cellar door.) JOHN: Hey. Crews must have left this open. I found it like this. BAILEY: What's down there? JOHN: Well, looks to be a secret tunnel. The strange thing is, there's something like there's ... bloody footprints. SAM: Uncle Joe's? JOHN: No, it was like a big cat or something. But, you know, the thing is that they led away, and all of a sudden they disappeared. FADE OUT. FADE IN. [EXT. UNCLE JOE'S CABIN] (JOHN is on the phone with GRACE.) JOHN: (to phone) Yeah, sure. I'll let him know. All right. (He hangs up just as BAILEY and SAM walk in.) Just talked to Grace. Maddy Duvall died of strangulation. (Quick flashes of: MADDY opening the trap door in the museum and finding CREWS inside. He grabs her and pulls her down into the ground with him. Flash to MADDY hanging from the tree. End of flash. Resume to SAM.) SAM: Huh. She must have stumbled into him. He didn't have a choice. She'd found where he was hiding. CARL SMYTHE: Must have been what happened. My guys dug up another hidden tunnel just like the one over there. SAM: That's what he's been doing this whole time. He's been working his way up to the source ... the Chief of Chiefs. BAILEY: Once of these tunnels leads to the grotto. He's down there somewhere. Let's get to him first. CUT TO: [EXT. UNDERGROUND GROTTO -- NIGHT] (Chanting continuously, CREWS dips his fingertips into the bowl of paint and marks his painted face as he prepares for the ceremony. He picks up the hammer.) CUT TO: [INT. TUNNEL A -- NIGHT] (JOHN makes his way through the tunnel.) JOHN: (to the radio) Yeah, Bailey. I'm about a hundred and fifty feet down tunnel "A." I've found some kind of ladder. BAILEY: (from radio) What's your coordinate? JOHN: (to radio) Six hundred and sixty feet west of the baseline. INTERCUT WITH: [EXT. UNCLE JOE'S CABIN - NIGHT] (BAILEY checks the map and makes a circle around tunnel A.) BAILEY: That should be the sweat lodge. JOHN: I'm going up. BAILEY: (from radio) Just take a look. Don't engage. (JOHN pockets the radio and climbs the ladder.) [INT. SWEAT LODGE] (JOHN lifts up the trap door and looks around. Sure enough, he's is inside the sweat lodge. He sees nothing.) JOHN: (to radio) Affirmative, Bailey. I'm in the sweat lodge. It's empty. I'm heading back. CUT TO: [INT. TUNNEL C -- NIGHT] (SAM makes her way through the tunnel.) BAILEY: (from radio) (v.o.) Ok, John. Head towards the next tunnel. CUT TO: [UNDERGROUND GROTTO] (CREWS is dressed in traditional Indian costume and chanting, performing a ritual.) CUT TO: [INT. ZACA TRIBAL MUSEUM -- NIGHT] (CARL looks around the top of the ladder.) CARL: (to radio) Bailey, I'm at the tribal museum. INTERCUT WITH: [EXT. UNCLE JOE'S CABIN - NIGHT] (BAILEY makes a circle around Tunnel B on the map.) BAILEY: Roger. CUT TO: [INT. TUNNEL C -- NIGHT] (SAM continues through tunnel C.) BAILEY: Sam, are you keeping an eye on the time? SAM: Uh ... yeah, I see it. Three minutes. (She stops and turns when she hears a low growl. Off to the side is the panther.) (Quick flashes of: The panther on the side of the road. Uncle Joe. Paint on fingertips. Chief Red Horse at the funeral. A Hawk flying high in the sky. End of flashes. Resume to SAM.) (The panther turns and walks away. INTERCUT WITH: [EXT. UNCLE JOE'S CABIN] BAILEY: (to radio) Sam, are you on com? Are you on com, Sam? We lost your air. SAM: (whispers) Bailey, Tunnel "C." I can hear them. BAILEY: Copy. We're on the way. (SAM continues forward.) [UNDERGROUND GROTTO - CONTINUOUS] (CREWS swings his hammer and cracks a clay pot. He keeps violently hitting it, smashing it to pieces as UNCLE JOE watches from the side, his hands tied apart and above him.) (Cut to: SAM takes out her gun and heads toward the grotto. She cautiously checks if CREWS is there. UNCLE JOE is tied across the far end of the cave.) SAM: (whispers) Uncle Joe. CREWS: (shouts) Nakasante! (From above her to her side, DONALD CREWS launches himself from the perch above her. SAM turns and screams. He falls on her as she struggles against him. He raises his hammer to strike when he's suddenly kicked off of her.) BAILEY: Don't move! (BAILEY kicks DONALD CREWS in the face.) BAILEY: Don't move! John, cuff him. (JOHN steps forward to cuff DONALD CREWS.) JOHN: Roll over! Get over there! BAILEY: Are you ok, Sam? (He helps her to her feet.) SAM: Ahh ... yeah. BAILEY: Should have waited. SAM: I didn't have much of a choice. (She and BAILEY cut UNCLE JOE down.) SAM: Are you ok? CUT TO: [EXT. RESERVATION - SUNRISE] [INT. UNCLE JOE'S CABIN -- DAY] (UNCLE JOE and SAM walk into the cabin.) UNCLE JOE: No, I'm not going. I don't like hospitals. SAM: Yeah, well, I think you should at least have a doctor look at you. I mean, that eye is pretty bad. (He picks up the tea kettle from the floor; the place is still a mess.) UNCLE JOE: I think I should make you some tea. (She laughs.) SAM: (shakes her head) I don't think so. UNCLE JOE: You know, you're a good person. You have a good heart. Don't neglect the panther. (She gives him a hug.) [EXT. UNCLE JOE'S CABIN] (SAM steps out of the cabin and heads for the car.) (She hears a growl behind her, turns and sees the panther standing a distance away.) SAM: Don't let me down. JOHN: Say what? (SAM looks at JOHN. She turns to look back at the panther, but the panther's gone.) SAM: Nothing. BAILEY: (to phone) Thanks. (He hangs up.) Just got a weird call. Some woman back in Atlanta found my credentials. CUT TO: [EXT. ATLANTA CITY (STOCK) - NIGHT] LEGEND: ATLANTA, GEORGIA [EXT. -- NIGHT] (BAILEY pulls up the drive and parks his car. He heads for the front door. It's too dark and too quiet. BAILEY takes out his gun and walks inside.) [INT.] (He walks in through the back kitchen. The place is dark. Cautious, he sees the stove's pilot lights on. He walks inside and sees MOLLY SARGUCCI'S dead body sitting down on the ground chained to the pole, his I.D. open, his badge pinned to her chest.) (The police burst into the kitchen.) POLICE: Turn around! Turn around! POLICE: Drop your weapon! (BAILEY puts his gun down.) BAILEY: Relax! Relax! F.B.I.! POLICE: Where's your I.D.? BAILEY: F.B.I.! POLICE: Where's your I.D.? POLICE: Cuff him! (As the officers put him in cuffs, BAILEY turns and sees his ID on MOLLY SARGUCCI.) FADE TO BLACK. ========================== 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 1X09: THE SORCERER'S APPRENTICE ORIGINAL AIR DATE ON NBC: 01/04/1997 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 RUSSEL MEANS as Uncle Joe PATO HOFFMAN as Carol IRENE BEDARD as Maddie Duvall Co-Producer: JOHN FORREST NISS Produced by: ANTHONY SANTA CROCE Supervising Producer: GEORGE GEIGER Supervising Producer: CYNTHIA SAUNDERS Creative Consultant: KEN SOLARZ Executive Producer: LARRY HERTZOG Written by: KEN SOLARZ Directed by: LEWIS TEAGUE ========================== END CREDITS ========================== Sanders/Moses Productions NBC Studios NBC Enterprises Also Starring START GRANT as Donald Crews TIM SAMPSON as Leon Fox FRANK SOTONOMA SALSEDO as Red Horse with APRIL BRENEMAN as Molly (Sargucci) LAWRENCE McNEAL III as Officer Story Editor: JEAN GENNIS Story Editor: PHYLLIS MURPHY Casting: ANTHONY BARNAO Director of Photography: MICHAEL BONVILLAIN Production Designer: JONATHAN CARLSON Edited by: KAREN STERN 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: LORIE ZERWECK Camera Operator: JAMIE MAXTONE-GRAHAM First Asst. Cameraman: BUTCH PIERSON Dolly Grip: RICK MAXEY Production Sound Mixer: KEN SEGAL Second Second Assistant Director: LAURA SYLVESTER Location Manager: ILT JONES 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: LAURA DELUISA Production Auditor: BETHANY BROWN Script Supervisor: JANEL F. REEVES Production Coordinator: JANE EVERETT Assistant to Executive Producer: NICHELLE M. PROTHO Assistant to Producer: KIMBERLY DICKENS Computer Graphics: PAUL LeBLANC Video Playback: BOB MORGENROTH Insert Coordinator: CRAIG FELLER Assistant Editor: KERRY MICHAEL TYM 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 Some Stock Footage by: AMERICA BY AIR STOCK FOOTAGE Technical Advice by: DOUGLAS FORSMITH 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) 1997 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:01/24/2004~lky http://www.webphilia.com/~anthology/wnp.html