PROFILER
1X21: VENOM (1)
ORIGINAL AIR DATE ON NBC: 05/10/1997
TRANSCRIBED FROM DVD
Written by: STEVE FEKE
Directed by: JAMES WHITMORE, JR.
Transcript by Intrepid
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Please do not archive this transcript without permission from the
Transcriptionist.
==========================
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==========================
SUMMARY: The VCTF investigates a series of deaths involving exotic natural
poisons by a killer who leaves blatant and taunting clues at every crime scene.
Cooper replaces John on the team. Bailey's conflicts with his daughter turn
violent.
==========================
PROFILER
1X21: VENOM (1)
==========================
FADE IN.
[EXT. BAYOU - DAY -- PAST]
(The camera travels low on the bayou - over the murky waters and through the
overgrown trees. A wooden rowboat is attached to the make-shift pier. The
camera heads for the old trailer.)
[EXT. RESIDENCE - FRONT YARD - DAY-- PAST]
(The camera swerves to and fro as it travels low and fast straight for the
trailer home.)
SHIRLEY POOLE: (v.o.) Damn!
[INT. TRAILER RESIDENCE - DAY-- PAST]
(The blonde-haired woman shouts.)
SHIRLEY POOLE: Nothing but trash! Life don't hold no patience for bein'
stupid. Now, clean it up!
(She throws the cloth on the floor at the feet of the little girl standing over
the broken glass.)
FADE TO WHITE:
[EXT. WEALTHY RESIDENCE -- FOUNTAINS - DAY]
(A pair of feet lands hard on the pebbled ground. The person starts walking
purposefully.)
[INT. STAINED GLASS WINDOW]
(The person opens the glass door and walks inside. The person walks over to the
counter where a red light and places a shoebox down on the floor.)
FADE TO WHITE:
[EXT. RESIDENCE - BAYOU - DAY - PAST]
(The little girl stoops on the front porch to pick up a little green frog.)
CARTER POOLE: (v.o.) You don't find clothes in books.
[INT. TRAILER RESIDENCE - BAYOU - DAY - PAST]
(The camera shows the books on the shelves.)
CARTER POOLE: You don't find money in no books! All you get's a bunch of
jackass about nothin' and that's just what you get in your head!
(The man shouts at the little girl.)
CARTER POOLE: Shut up! You just shut up!
FADE TO WHITE:
[INT. RESIDENCE - DAY -- PRESENT]
(Open on the stained glass window.)
[INT. SAUNA - DAY]
(The man with the towel wrapped around his waist, checks the gage reading, opens
the door and steps into the sauna.)
FADE TO WHITE:
[INT. TRAILER RESIDENCE - BAYOU - DAY - PAST]
(From the little girl's POV, the woman and CARTER loom over her.)
SHIRLEY POOLE: We know what's best. You shut up! I can't stand seeing you
hanky! (She turns to her husband.) Carter!
(CARTER looms over the little girl. He moves forward, forcing her back into the
closet.)
CARTER: You move yourself, now. Move it! Keep movin'!
(He closes the burlap cloth over the closet opening.)
CARTER: (o.s.) (to his wife) It's all your fault 'cause that child ain't
right in the damn head!
SHIRLEY POOLE: My fault?!
FADE TO WHITE:
[INT. RESIDENCE - DAY -- PRESENT]
(The man sits in the sauna. He closes his eyes and wipes his face. On the
window ledge right behind the man, a small green frog waits.)
(The frog hops onto the man's shoulder. Another frog hops onto the man. The
man stands up and looks down at the frog on his shoulder. He tries to brush it
off, but grunts in pain. He collapses to the ground.)
(More frogs jump onto the man. The man collapses back onto the ground.)
(Camera pulls back a bit, then cuts to a close up of the small frog.)
FADE TO
END OF TEASER
ROLL TITLE CREDITS
FADE IN.
[EXT. COMPOUND (STOCK) - DAY]
LEGEND:
LOS ANGELES,
CALIFORNIA
(A helicopter flies overhead.)
[EXT. RESIDENCE -- DAY
(BAILEY, SAM and GRACE make their way toward the officer cars.)
DET. PAUL ISAACS: Automatic clutch. Amazing what you get for a lousy 89 grand.
Detective Paul Isaacs, L.A. Sheriff's homicide. You would be the feds from
Atlanta.
BAILEY: I'm Bailey Malone. This is Dr. Sam Waters. Dr. Grace Alvarez. Nice
to meet you.
GRACE: You, too.
DET. PAUL ISAACS: We left the scene intact. Let me give you the tour.
(They turn and head into the residence.)
[INT. RESIDENCE -- BATHROOM - DAY]
(Quick flashes of the body in the crime scene.)
(The Coroner checks the body.)
MICHAEL SUNG: Time of death was about eight hours ago, judging from the body
temp.
BAILEY: What do we know about him?
DET. PAUL ISAACS: Donald Haste. Neighbor found him 'cause his dog was making a
racket. Some kind of computer programming genius, and he has some fancy patents
worth a bundle.
BAILEY: How big a bundle?
DET. PAUL ISAACS: He was trying to buy the Dodgers.
BAILEY: I guess that won't happen.
MICHAEL SUNG: Notice the hemorrhaging in the eye. An intriguing amount of
lividity. A dendrobatid toxin.
GRACE: From what?
MICHAEL SUNG: I think ... from these.
(He motions to DET. PAUL ISAACS who steps forward and removes the grate from the
floor to reveal four small green frogs.)
DET. PAUL ISAACS: Yeah. I figure maybe they came up through the sewer pipe,
like rats do.
GRACE: It'd have to be a very long sewer pipe, like from here to South America.
They're from the rain forest.
MICHAEL SUNG: Precisely. And Los Angeles is a desert. These little cuties
crossed state lines. That's why I called in you big guys.
BAILEY: Frogs don't sting and they don't bite.
GRACE: No, but they carry an arbovirus infection, like hemorrhagic fever or
dengue.
SAM: Bailey.
(BAILEY steps out of the sauna and looks at what SAM'S looking at.)
(On the window sill are some block letters:
B C(19) H(33) N O(3)
BAILEY: I think it's a variation of a kids' game called spill & spell. Could
be a chemical notation. You think it's a signature?
SAM: Could be a clue.
(Quick flashes of: Gloved hands placing the letter blocks on the window sill,
the frogs in the drain, and of the dead body on the floor. End of flashes.)
SAM: It's complex, symbolic ... more elaborate than it has to be. Someone took
the effort to make sure that we would know that.
(BAILEY turns and heads back into the sauna.)
MICHAEL SUNG: (re: the frogs) Beautiful, aren't they?
BAILEY: We'll do the autopsy in the L.A. Morgue. Sung, you'll have to maintain
chain of evidence.
GRACE: And we need to bring one of the frogs, too.
MICHAEL SUNG: Take two. They're small.
(GRACE turns and leaves; SAM stares at the frogs.)
CUT TO:
[INT. LA MORGUE - DAY]
(GRACE and SUNG work on the body. GRACE notates the findings on the clipboard.)
GRACE: No puncture wounds or bite marks.
BAILEY: But the capillary damage deserves an Oscar. He was dead in less than a
minute. The steam opened his pores.
GRACE: Yeah. It's supposed to be good for you. Topical venom. Went right
through the skin.
MICHAEL SUNG: Nature's wily, more so than people. Mostly in L.A., All I see
are bullets and knives ... but this ... is real science.
CUT TO:
[INT. LA MORGUE - DAY]
(BAILEY is on the phone. He checks his watch. In the back, SAM walks up to
him.)
SAM: What's the matter?
BAILEY: Frances skipped out again. Didn't come home last night.
SAM: Boyfriend?
BAILEY: I wish.
(GRACE walks out of the lab and joins them.)
GRACE: Definitely venom from the frogs. Highly lethal.
BAILEY: We'd never suspect if we didn't know. Damn things are so small.
GRACE: So are fleas. Plague gets you every time.
(GRACE leaves.)
CUT TO:
[EXT. FBI BUILDING (STOCK) -- DAY]
[INT. VCTF - COMMAND CENTER - DAY]
(GEORGE has an ad of a bikini-clad woman at the beach on the wall monitor as he
explains how the software works.)
GEORGE: Ok. Basically, this is the finished product. This is what you get at
the newsstand in the swimsuit issue, but it starts something like this. Kind of
like a before and after -- a little less perfect.
(On the wall monitor is the same bikini-clad woman at the city.)
SAM: So Haste created software to electronically alter photographs.
GEORGE: Mm-hmm, for computerized mass publishing. And there's easy stuff you
can do, like change the background, add some clouds, change the color of her
suit, glisten up her skin, and then, for the Guccioni crowd, voila!
SAM: Man-made.
BAILEY: And lucrative.
SAM: Yeah, but I don't think this is about money. Haste was killed by means of
nature -- pure, untouched. Now, why would somebody go to all that trouble?
SAM: Maybe somebody didn't like his work. Or what symbolize Haste didn't have
any family.
NATHAN: He left his money to Stanford. We're looking into partners, lovers --
you name it.
BAILEY: Keep looking.
CUT TO:
[INT. VCTF - BAILEY'S OFFICE]
(BAILEY'S at his desk when there's a light knock on the door. COOP walks in.)
COOP: Hey, man. (BAILEY gets to his feet.) The powers that be said you
called.
(They shake hands.)
BAILEY: What else did they say?
COOP: Uh, just that it might be "interesting," was the word I think they used,
if I got my butt down to Atlanta. What's up?
BAILEY: The ATF owes me some quid pro quos. I wanna call one in.
COOP: Yeah?
BAILEY: You know John Grant.
COOP: Sure. He's a good man. Bailed me out of a couple of tight situations,
actually.
BAILEY: He quit the VCTF, went back to the Atlanta Police Department.
COOP: Why'd he quit?
BAILEY: Personal. I need a replacement. You have the qualifications, you know
how we work, and you get things done.
COOP: Whoa ... that's an amazing thought it would be a big-time change,
wouldn't it, Bailey?
BAILEY: It beats defusing bombs for a living.
COOP: Maybe. Heh. You know, Bailey, I'd have to think about that for a
minute.
BAILEY: We'll make it temporary. I'll work it out with the ATF.
COOP: Ok. Well, uh, let me think about it, and, uh ... I'll get back to you.
BAILEY: Sure.
COOP: Amazing.
(COOP turns and heads for the door. At the last moment, he turns around.)
COOP: Bailey, if I say yes, do I have to get a haircut?
BAILEY: Call it a trim. We'll talk about the gum after you take the oath.
COOP: Ha! Right.
CUT TO:
[INT. VCTF - FORENSICS LAB -- DAY]
(The yellow and black frog under the scope.)
(GRACE explains the poison to BAILEY and SAM.)
GRACE: This is one of the little guys who make all the noise up in the canopy
of the rain forest. The indigenous people of Colombia call it a poison dart
frog because they take its venom and put it on the tips of darts and arrows.
It's secreted from tiny glands in the skin of the frog.
BAILEY: So all you have to do is touch this thing and you get poisoned?
GRACE: It is the most lethal toxin found in any amphibian and most reptiles.
It is deadlier than the bite of a king cobra. You come in contact with it, and
you're dead in less than ten seconds.
SAM: Grace, what about the dice?
GRACE: Pumiliotoxin "B." Venoms have an extremely complex molecular structure.
Put together the right way, b-c19-h33-no3 is the poison dart frog's venom.
SAM: Most amphibians and reptiles are shaded for camouflage, but this little
guy's colors say, "look at me. Admire me. I am beautiful, I'm unique, but I am
a touch-me-not. I am the deadliest of my kind." Haste created a process to
alter natural beauty. Maybe the killer's telling us that's why he was killed.
BAILEY: That's a long way to go.
SAM: It's complex, like venom.
GRACE: Mm-hmm.
BAILEY: (sighs) Well, it's illegal for individuals to import dangerous
animals. I'll get George on a list of companies and medical labs who bring them
in for research.
SAM: And the infectious disease agency, for any other incidents involving a
poison dart frog.
(BAILEY leaves; SAM leans forward to look at the tiny frog again.)
CUT TO:
[COMPUTER MONITOR]
(Someone is accessing the FEDERAL INFECTIOUS DISEASE AGENCY'S database at
http://www.federalInf.gov/access/
(The computer takes on a blue-ish hue and we presume that we're in JACK'S
place.)
(The screen changes and the following appears:
access: SEARCH ENGINE
access: HISTORIAL RECORDS
access: INFORMATIONAL OUTLINKS
access: CLINICAL TRIALS
access: PORT MORTEM RECORDS
access: LEVEL 2 (L2 AUTHORIZATION REQ.)
----END OF FILE ----
[INT. JACK'S PLACE]
(The camera pulls back and we see a photo of SAM taped to the side of the
monitor as well as a newspaper clipping with the headline: FBI INVESTIGATES
POISON-DART FROG MURDER.)
(Camera pulls back and circles around to show JACK in his bathrobe sitting with
the keyboard in his lap. He has a glass of orange juice in his hand and a lit
cigarette in the other as he works.)
(He runs a search on
' venom
AND poison dart frog
AND victim ... '
JACK: My, my, my.
CUT TO:
[INT. VCTF - DAY]
(GRACE is sitting on the hallway seat, her eyes closed. SAM walks up to her.)
SAM: Hey.
GRACE: Hmm. Hey.
(SAM sits down next to her.)
SAM: How you doing? You tired?
GRACE: I am totally exhausted.
SAM: That's great. That's normal.
GRACE: Morgan says I'm starting to show.
SAM: Well, maybe with your clothes off. No. Maybe a little in your face.
It's pretty.
GRACE: Yeah? Thanks.
SAM: No, really.
GRACE: No, no.
(BAILEY walks out reading a file.)
BAILEY: Sam, let's go.
SAM: (to BAILEY) Ok. (to GRACE) Uh, I'll see you later, all right?
GRACE: Ok, hon. Thanks.
(SAM stands and follows BAILEY out.)
CUT TO:
[EXT. -- DAY]
(A man driving a mail truck pulls up the drive. He gets out of the car and
heads to the house through the garage. When he reaches the door, a woman comes
up behind him and holds a gun to the back of his head.)
WOMAN: Don't you look at me! Hands behind your back!
(She handcuffs his hands behind his back and puts a burlap bag over his head.)
MR. BERT FREDERICK: Please, don't hurt me.
WOMAN: Shut up, trash! And don't be so stupid! I don't wanna hear you!
Listen to me. I killed someone in California.
MR. BERT FREDERICK: Oh, my god.
WOMAN: I'm going to kill someone else. Four hours from now! Can you remember
that? In a Mercedes car ... in Savannah, Georgia ... and I'm going to do it ...
with this.
MR. BERT FREDERICK: I almost had a damn heart attack.
[INT. VCTF - COMMAND CENTER]
(MR. FREDERICK tells the team his story.)
MR. BERT FREDERICK: Oh, here.
(He digs into his pocket and pulls out the dice blocks.)
MR. FREDERICK These are those things that kids play with.
(He hands them to BAILEY who turns and hands them to GEORGE.)
BAILEY: George, run every combination on these letters. Last time there was
chemical compound.
GEORGE: These dice don't have any numbers on 'em like the other ones. Five
dice. We're talking a couple of hundred thousand combos.
(Quick flash of the frog. Resume to present.)
SAM: Try venoms - the most deadly.
GRACE: Better check Latin for species, too.
(GEORGE runs the program.)
BAILEY: Took them two hours to bring Mr. Frederick here from Jacksonville. In
thirty minutes, the four hours are up.
MR. BERT FREDERICK: I never even saw her, but I just ... could swear that she
was gonna kill me.
SAM: No. That's not what it was about. She wanted to use you. She's taunting
us. It's a test of wits. She values intelligence. She has no patience for
ignorance. The real question is, why did she come to your house and choose you?
How do you fit into her game?
MR. BERT FREDERICK: Look ... I'm just a normal guy -- not the smartest kid in
class, not the dumbest kid. Whatever game that lady's playing, I don't want any
part of.
BAILEY: Ok. Thanks for coming in, Mr. Frederick. (to the officer) You can
take him home.
GEORGE: I got something. I'm working against 2 databases here -- toxins and
venomous animals. A-t-r-a-X. Atraxin, which is a protein, and atrax -
GRACE: Rubustrus. Atrax rubustrus. It's a venomous spider.
CUT TO:
[EXT. WEATHERS' RESIDENCE -- DRIVEWAY - DAY]
(MARILYN WEATHERS steps out of her house and heads for her car. Her cell phone
rings.)
(Someone from the bushes watches her.)
(Her cell phone continues to ring.)
(Her cell phone is in her purse and we see that a small spider is crawling on
it. She opens the car door and gets into the car.)
MARILYN WEATHERS: (to phone) Hello?
WOMAN: (from phone) Good-bye.
MARILYN WEATHERS: Hmm? (screaming) Aah!
(She drops the phone and we see the spider on her cheek. She continues to
scream.)
(Finally she stops, gasps and her head falls to the steering wheel causing the
horn to honk.)
(Camera pulls back out of the driveway.)
FADE OUT.
FADE IN.
[EXT. COMMUNITY (STOCK) -- DAY]
LEGEND: SAVANNAH, GEORGIA
(A helicopter flies overhead.)
[EXT. WEATHERS' RESIDENCE - DRIVEWAY -- DAY]
(MARILYN WEATHERS' dead body is lifted up on the gurney, her mouth bears the
welts from the spider bites and a small amount of blood from her eye.)
BAILEY: This is from a spider?
SAM: A very aggressive one. George said it leaves bite marks worse than most
snakes. It's called a funnel web. It's from Australia. Drop for drop, it's a
thousand times more lethal than the black widow.
(NATHAN walks over to them.)
NATHAN: Hey. Uh, her name is Marilyn Weathers, 38, C.E.O. of a conglomerate
called Faircott Corporation. They're big in the soft drink and snack food
business. I'll have a complete list for you soon.
BAILEY: What about the phone call -- in or out?
NATHAN: In, but it came from a pay phone.
BAILEY: Look for a connection between Faircott and Haste. Maybe they knew each
other.
(NATHAN hands the baggie with the small spider in it.)
NATHAN: Um, they found this on the console. Pretty small. Creepy, though.
Can you imagine? In your car.
BAILEY: Let Grace have fun with that.
NATHAN: Right.
(NATHAN leaves. SAM and BAILEY check out the car.)
BAILEY: She puts the spider in the car, maybe in the phone, then makes a call,
makes sure it's agitated.
SAM: Where did she put the letters?
BAILEY: Maybe she didn't.
SAM: No. She's too specific, too precise.
(BAILEY takes out a handkerchief and uses it to open the arm rest.)
SAM: Bailey, be careful.
(He opens it and finds the dice.)
[LATER]
(BAILEY drops the dice on the car hood. They land with a thud.)
SAM: May I?
(SAM takes the hand kerchief and arranges the letters: ATRAX.)
SAM: Roll 'em again.
(BAILEY rolls the letters again. They come up the same.)
BAILEY: Loaded.
SAM: It's another taunt -- her way of saying things are gonna come up the way
she wants, no matter what.
CUT TO:
[EXT - DAY]
(Binoculars view of JOHN driving up the road. LOU HANDLEMAN puts the binoculars
down as JOHN makes his way toward him.)
(JOHN gets into the car with him.)
LOU HANDLEMAN: So, how'd it go?
JOHN: Convenience store hit? Six witnesses ... six different versions of what
happened, six different descriptions.
LOU HANDLEMAN: People witness a crime, sometimes they get confused. You seen
Bailey lately? I mean, since you left?
JOHN: No.
LOU HANDLEMAN: I've been watching that building over there. Bunch of real
wacko loons -- stolen goods, drugs, weapons. I got an undercover inside. So
guess who's sleeping on the mattress next to his last night?
JOHN: Bailey Malone.
LOU HANDLEMAN: The pride of his loins.
JOHN: His daughter?
LOU HANDLEMAN: (nods) You ever meet her? (JOHN shakes his head.) Well, we're
gonna crash that place tomorrow night, and I want you in. If there's trouble
... we can both give Bailey the bad news.
CUT TO:
[INT. SAM'S PLACE -- NIGHT]
(Through the camera lens ANGEL smiles.)
(The camera snaps photos of ANGEL, CHLOE and COOP.)
COOP: Hey.
(SAM takes a picture of COOP with CHLOE and another of CHLOE. SAM hands the
camera to COOP.)
SAM: Take a picture of us -- your little helpers. Here. Come on, girls. Here
we go.
(ANGEL rushes around to get into the picture, too.)
COOP: Ok ... ok. On 3, you say ... "fromage." One, two, three ...
ALL: Fromage!
COOP: Ah, magnifique!
(The phone rings. ANGEL goes to answer it.)
ANGEL: Oh, I got it.
COOP: What's with the camera?
SAM: It's an old hobby I'm trying to revive. Sort of an escape from dark
corners.
COOP: Cool. Chloe's medium rare, right?
SAM: Yep. You know, I think she loves you almost as much as she loves your
burgers.
COOP: Good taste in burgers, good taste in men.
SAM: Little girls tend to think in simple terms, now, don't they?
COOP: Yes, and then they grow up and get complicated.
(As SAM looks at CHLOE through the camera lens, she has a series of quick
flashes: the ATRAX dice, DONALD HASTE falling to the floor in the sauna, the
little girl under the burlap being yelled at ...
CARTER: (v.o.) Shut up!
(The flashes continue: MARILYN WEATHERS' with the spider on her face and
screaming, the little girl under the burlap, and screaming.)
(End of flashes. Resume to present.)
SAM: (quietly) And sometimes they turn bad.
(COOP looks up and sees CHLOE standing by the table.)
SAM: So what did, uh ... what did Bailey want the other day?
COOP: He wanted me to replace John. He didn't say anything about it?
SAM: Yeah, he told me. He, uh, didn't tell me when he was gonna talk to you,
but ... he wanted to know what I thought.
COOP: What do you think?
SAM: Well, what do you think?
COOP: That I'll blow it off in a minute if it bothers you.
SAM: It doesn't bother me.
COOP: Then what?
SAM: Well, come on. You have two people who are involved, and they start
working together--
COOP: And it turns out they can't handle it.
SAM: Well, maybe, yeah.
COOP: It's not like people haven't done it before.
SAM: Yeah? And who would that be?
COOP: Spencer Tracy and Katharine Hepburn.
CUT TO:
[AFTER DINNER]
ANGEL: I haven't seen Darren Amber since art school in New York, which is ...
eight years, and he is now this big shot on the gallery circuit. He says he
wants to put me on the map, whatever that means.
COOP: It means that a celebration is in order. It's too bad we don't have any
sugar cookies.
CHLOE: Hey, yes, we do!
COOP: We do? You're kidding me.
CHLOE: Oh, my gosh. I made the big ones for you.
COOP: Give one to your mama. Mmm!
SAM: Thank you very much.
CHLOE: You're welcome.
CUT TO:
[EXT. FBI BUILDING (STOCK) - DAY]
[INT. VCTF - COMMAND CENTER - DAY]
(GEORGE explains what he's found.)
GEORGE: Ok ... this is from hospital records in Arkansas, some place called Pea
Ridge, not even a whistle stop.
BAILEY: How long ago?
GEORGE: Ten years. Couple of squatters. Carter and Shirley Poole were found
dead in their trailer. There was no foul play, no theft, no sexual assault.
Only trouble was ... the bodies were not discovered for six days. Trailer was
closed, no air conditioning. They were pretty far gone.
BAILEY: What was the cause of death?
GEORGE: The local county coroner freaked 'cause of possible disease. You know,
small town, they're not exactly forensic scientists, more concerned about public
health, so he had the bodies cremated.
BAILEY: Well, that doesn't do us any good.
GEORGE: Nope, but he did take blood samples and he sent them to F.I.D.A., and
they had traces of b-c19-h33-no3.
SAM: Poison dart frog venom.
GEORGE: Yes. The F.I.D.A. thought that the bodies were so degraded, they just
wrote it off as an unreliable result.
GRACE: Figures. According to mother nature, there aren't supposed to be any
poison dart frogs in Arkansas.
GEORGE: Ok. I have these autopsy photos-- Shirley Poole and--now, take a look -
- her husband Carter.
SAM: The mailman ... Bert Frederick.
BAILEY: The mailman looks a lot like Carter Poole. You're saying this guy has
been dead for ten years?
GEORGE: mm-hmmm
BAILEY: Nathan, find Frederick. Get him back in here now.
GEORGE: Ok. Now for the part I really don't like. To tap into the F.I.D.A
files, you have to have an F.B.I. Access code, right? The system keeps a record
of anybody who logs on for security reasons. Now ... when I accessed the Pea
Ridge file a little while ago, I saw that somebody else had been in there before
me, a couple of hours. Take a look at the name under mine.
(GEORGE brings up the list:
logon:
George Fraley
VCTF RESEARCH f#3372.152 11298109
Logon:
Jack O. Trades
SPECIAL AGENT f#28392.389 8329dui3-20
Logon:
Paul LeBlanc
FIDA RESEARCH f#4879384.09 882083n302
Logon
John F. Niss
FIDA OPERATIONS f#39439.3940 363802-7nm3 )
(Quick flashes of Jack in his workshop. Resume to present.)
BAILEY: Jack. How the hell does he fit into this?
SAM: Nothing we know about this fits his profile.
BAILEY: Unless it just changed. Maybe he's taken on a partner. Maybe he got
married. Maybe he's a damn woman, too. George, let's find out if the Pooles
have any other family members.
NATHAN: Bailey, I found Bert Frederick.
CUT TO:
[INT. HOSPITAL -- DAY]
(BAILEY, SAM and NATHAN walk to the hospital room.)
ORDERLY: Right in there, sir.
(They find BERT FREDERICK in the bed. His lawyer sits in the seat next to the
bed and holds his hand. He sees them and heads angrily to open the door.)
BYRON JARVIS: You must be Bailey Malone.
(BAILEY holds out his hand.)
BAILEY: Yes, and you?
(BYRON JARVIS ignores the hand shake and opens the door wider.)
BYRON JARVIS: Byron Jarvis, Mr. Frederick's counsel.
BAILEY: What happened?
BYRON JARVIS: A man identifying himself as an F.B.I. Agent came to visit my
client at his home. He asked a few questions, he didn't like the answers, and
he beat my client within an inch of his life.
BAILEY: You say an F.B.I. Agent did this?
BYRON JARVIS: Special F.B.I. Agent Jack Trades ... from your office. Look,
anything further will be said in a court of law.
BAILEY: The guy who did this is an impostor. He's a serial killer called "Jack
of all Trades." He isn't from the F.B.I., and he sure as hell isn't from my
office.
(BAILEY turns and leaves the hotel room.)
BYRON JARVIS: Perhaps you didn't understand me. (shouts) In court, Malone!
DOCTOR: (to BYRON JARVIS) Mr. Jarvis.
(SAM and NATHAN catch up with BAILEY.)
BAILEY: What the hell is it, Sam? Reads the newspaper, taps into F.I.D.A.,
almost kills Frederick. What, is he trying to screw up the investigation?
SAM: I don't know. Jack considers himself the best, the ultimate taunter.
Maybe he doesn't like this lady's competition.
BAILEY: So why doesn't he just kill her?
SAM: That may be the worst part. He's already a step or two ahead.
CUT TO:
[EXT. BAYOU SWAMPS -- DAY]
(Someone trudges his way through the swamp waters.)
(He makes his way to the old trailer.)
[INT. TRAILER - DAY - CONTINUOUS]
(He steps into the trailer and looks around. He places a book on the counter.)
(Camera pulls back out of the trailer and back the front yard.)
FADE OUT.
FADE IN.
[EXT. FBI BUILDING (STOCK) -- EVENING]
[INT. VCTF - COMMAND CENTER - EVENING]
(They listen to DARLA TURNER.)
DARLA TURNER: My name is Darla Turner. I was down at Hessie's ... this bar I
go to. I was just goin' to my car ... and I - (she starts crying.) I'm sorry.
I'm not used to talkin' to cops and F.B.I.
SAM: That's ok. Most people don't have to, but you can really help us, Darla,
so just ... take your time, ok?
(Quick flashes of: SHIRLEY POOLE dead. Resume to present.)
DARLA TURNER: After she put that hood on my head, she said I was stupid,
nothin' but a piece of trash. I ain't ... but I know what it feels like to be
told.
BAILEY: Then what, Darla?
DARLA TURNER: She said you all are stupid, too. She called you the Federal
Bureau of Idiots. Said she was trying to play a game on you, only it was too
hard, so to make it easy, she put those on my lap.
(Quick flashes of the other letter dice left at the other crime scenes. Resume
to present.)
NATHAN: Did she say what they mean?
DARLA TURNER: It's like the answer to a puzzle. It's the next person she's
gonna kill, and she's gonna do it tomorrow at dawn, right in your own backyard.
BAILEY: Atlanta.
GRACE: It's not chemical. Could be initials.
GEORGE: Six combinations -- more, if it's just two initials and the third
letter stands for something else.
(GEORGE puts the search into the computer.)
BAILEY: We need to cross-reference by profession. Glamour industry -- the
photographers, models ... publishers. Use your imagination.
NATHAN: Did you ever know some people named Carter and Shirley Poole?
DARLA TURNER: No.
NATHAN: You ever been to Arkansas?
(They watch the monitor running the search.)
DARLA TURNER: No. Was I any help?
SAM: Yes, you were, a lot of help. They'll show you out, ok?
DARLA TURNER: Thanks.
BAILEY: I want twenty-four hour surveillance.
SAM: She sent us two look-alikes for a dead couple. George, do we know about
any other family yet?
GEORGE: Nobody working for the sheriff was around back then.
GRACE: I talked to the county coroner's office. They had to dig out the Poole
case file. The man who did the blood work retired, but they should find him by
tomorrow.
BAILEY: As soon as he turns up, we'll wanna be there.
GRACE: There's one interesting angle. There was a genealogy chart, standard
for deaths by an unknown disease. It lists a daughter, name and age unknown.
(Quick flash to: SHIRLEY and CARTER POOLE yelling at the little girl, the
little girl catching the frog, the letter dice on the shelf. Resume to
present.)
SAM: That's the killer. She uses dice from a children's game, and she berates
these people, like parents mistreating a child: "You're stupid. You're a piece
of trash."
GRACE: Emotional abuse.
SAM: Yeah. She didn't get hugs and kisses. She was shut off, blindfolded.
That's why she's using the hoods.
BAILEY: Sent into a dark room or a closet.
SAM: Like someone saying, "you don't count. I don't wanna hear you."
Repressed intellect. This woman is very brilliant, something that her parents
weren't. She's attacking the glamour industry -- false beauty. She has a
problem with her appearance.
GRACE: Deformed? Disfigured?
SAM: No. I actually think she could be beautiful herself. Maybe she thinks
that's all people notice about her.
BAILEY: We've got about six hours till sunrise. All right.
(The computer continues to run the search.)
CUT TO:
[INT. VCTF - BAILEY'S OFFICE - NIGHT]
(NATHAN shows CHRISTINE LOGAN into BAILEY'S office.)
BAILEY: I'm Bailey Malone.
CHRISTINE LOGAN: Christine Logan. I left several messages ... then camped in
the lobby ... then refused to leave. Evidently, it's easier getting a meeting
with the Joint Chiefs of Staff.
BAILEY: The Joint Chiefs aren't as busy as I am.
CHRISTINE LOGAN: I'm an investigator hired by the Faircott corporation to look
into the death of Marilyn Weathers. Your background check says I'm with the
secret service -- the criminal side, not diplomatic protection. Specialty in
forensic handwriting.
BAILEY: Care to sit down?
CHRISTINE LOGAN: Faircott's high-profile. The idea that their C.E.O. was
poisoned doesn't sit well in a company in the fast-food business.
BAILEY: Murder doesn't sit well with me in any business.
CHRISTINE LOGAN: As a professional courtesy, I wanted you to know that I was on
the case. And I think that we can save duplicated efforts.
BAILEY: I was waiting for the bottom line.
CHRISTINE LOGAN: All I want is access to your case file, however you feel
comfortable. Naturally, I'll share everything about the Faircott's employees.
BAILEY: As a professional courtesy, you can look ... but only from here. Fair
enough?
CHRISTINE LOGAN: Fair enough.
CUT TO:
[EXT. -- NIGHT]
(JOHN gets out of the car and makes his way to LOU HANDLEMAN.)
OFFICER: (overhead) This is the Atlanta Police Department. You will move
toward the vehicle.
OFFICER: Your other hand! Now! Come on. Don't fight it.
(They look up and see an officer hand-cuffing a man on the fire escape.)
JOHN: Where is she?
(LOU HANDLEMAN points.)
JOHN: Thanks.
(JOHN finds the car and opens the door.)
JOHN: Excuse me. Frances? I'm John Grant. I know your father.
FRANCES MALONE: You one of his storm troopers?
(He climbs into the car with her.)
JOHN: Well, I used to be. I work for Atlanta P.D. now.
FRANCES MALONE: Yeah, well, can you tell your honcho over there that I didn't
do anything?
JOHN: That's kind of what they all say.
FRANCES MALONE: Look ... I don't do drugs, ok? I've never touched a gun in my
life, and I didn't steal anything. I mean, I was just hanging with these guys.
I mean, is that some huge crime against humanity? If I get busted ... they're
gonna send me back to Baltimore ... and I can't do that. Please believe me.
Please, because nobody else does.
JOHN: Give me a minute.
(He gets out of the car and heads back to LOU.)
JOHN: Lou. What do you got on her?
LOU HANDLEMAN: I'm working on it. It's probably gonna be a long list.
JOHN: Possession? Drugs? Guns?
LOU HANDLEMAN: By association.
JOHN: So she gets out before the 11:00 news, and you still have to do all the
paperwork.
LOU HANDLEMAN: You got a point?
JOHN: Let me take her home.
LOU HANDLEMAN: Maybe in another life.
JOHN: Oh, come on. She's Bailey's daughter. If she gets busted, youth
authorities are gonna take her away from him. You can't keep her. Nobody wins.
Let me take her. Full responsibility. I'll owe you one. Bailey will owe you
one.
CUT TO:
[INT. BAILEY'S RESIDENCE -- NIGHT]
(FRANCES takes off her jacket and hangs it over the back of the chair. JOHN
writes down his phone numbers for her.)
JOHN: Here's my home and work numbers and my add in case you need to tell the
uniforms where to drop you off, or if you don't feel like coming back here.
Here. Take it. Atlanta jail is not a nice place to spend the night. Believe
me, it could happen.
FRANCES MALONE: Hey, look ... I don't know...what you've heard about me, but
... it doesn't sound good. It's also not true.
JOHN: So ... tell me what is true.
FRANCES MALONE: Well ... ahem ... my dad doesn't understand me. I mean, how
could he? We hardly know each other. I mean, do you have any idea what that's
like?
JOHN: It's tough on both sides.
FRANCES MALONE: Yeah. Like, ever since I've been here, he treats me like I'm a
marine and we're in boot camp. I can't go out, I can't see my friends, can't
even call my mother. And every time I try to put on my music, he says,
"everything after Mozart is redundant."
JOHN: Well, he might have a small point there.
FRANCES MALONE: Shut up. I think he's scared of me ... emotionally.
JOHN: Why don't you try talking to him, instead of running away?
FRANCES MALONE: That's the problem. He doesn't talk. He commands. And
besides, he doesn't even listen. You listen.
JOHN: It's easier. I don't know you.
FRANCES MALONE: And if you did, you wouldn't?
JOHN: Oh ... heh heh. I didn't say that.
FRANCES MALONE: Well, good. Ha ha!
(BAILEY walks into the house.)
BAILEY: Where have you been?
FRANCES MALONE: No hugs and kisses, daddy?
BAILEY: Don't give me attitude, Frances. Where have you been?
FRANCES MALONE: I was with some friends.
BAILEY: Your so-called friends are all in jail.
FRANCES MALONE: I had nothing to do with that.
BAILEY: You're in for a dime, you're in for a dollar, especially with felons
and dope dealers.
FRANCES MALONE: Why does it always have to be guilt by association?
BAILEY: Why do you always have to associate with people who are guilty?
FRANCES MALONE: Fine. Then hold the cell next to Charlie Manson for me. Is
that it?
BAILEY: That's where you're headed.
(FRANCES leaves the room.)
BAILEY: Thanks for bringing her home, John.
JOHN: Listen, I ... I know this is none of my business, but I think you've got
a serious problem with her.
BAILEY: Tell me something I don't already know.
JOHN: She knows how to play it. Somebody taught her good. You need some help.
You need to find some way to get through to her.
(JOHN leaves.)
(BAILEY opens the cabinet and puts his gun in the box. He closes the box and
locks it.)
(He turns around and finds FRANCES standing there watching him. He walks over
to her and holds her.)
BAILEY: You had me scared, Frances. I didn't know where you were.
FRANCES MALONE: I know. I guess, I, uh ... wasn't thinking.
BAILEY: Don't you think it's about time you started? Not for me. For
yourself.
(BAILEY'S pager beeps; he checks it. The message reads: 33-RETURN TO VCTF.)
CUT TO:
[INT. VCTF - COMMAND CENTER]
(BAILEY and SAM walk into the office. GEORGE sees them and starts.)
GEORGE: Sancha W. Gomez, S.W.G., Vice president of Rogers Media Resources.
BAILEY: They do millions of dollars a year in advertising with Faircott.
GEORGE: I figured there might be a progression from the man who created a way
to make artificial beauty to the person who mass-produced it --
SAM: To the advertisers who sell the products it makes. Well, is he home?
(NATHAN is on the phone.)
NATHAN: It's ringing.
BAILEY: Keep trying. Let's go.
(BAILEY and SAM head out the office; GEORGE looks at NATHAN to leave it to
him.)
GEORGE: Nathan.
NATHAN: Thanks, George.
(NATHAN puts the phone down and heads out after BAILEY and SAM. GEORGE picks up
the phone and continues typing.)
CUT TO:
[EXT. GOMEZ RESIDENCE - POOL -- DAY]
(The phone rings.)
(Camera lingers over the pool water. SANCHA GOMEZ breaks through the surface
and takes a deep breath. He swims over to the pool edge to answer the phone.)
[EXT. GOMEZ RESIDENCE - DRIVEWAY -- DAY]
(A parade of cars rush up the driveway. The sounds of sirens wail in the air.)
(The cars park; BAILEY exits the car and heads for the front door.)
[EXT. GOMEZ RESIDENCE - POOL -- DAY]
SANCHA GOMEZ: (to phone) Yeah. Yeah, I want the complete blitz -- radio, tv
...
(NATHAN and couple of police officers round the side of the house, their weapons
drawn.)
NATHAN: Mr. Gomez. F.B.I.
SANCHA GOMEZ: (to phone) Just a minute.
(BAILEY and SAM come up through the house. BAILEY holds up his FBI ID.)
BAILEY: Mr. Gomez. F.B.I.
SANCHA GOMEZ: F.B.I.? What's going on?
BAILEY: You may be in danger, sir. We need to talk to you.
SANCHA GOMEZ: Is this a joke or what?
BAILEY: No, it's no joke.
SANCHA GOMEZ: (to phone) Uh, Jerry, I got to get back to you. No, no, no, no.
The F.B.I. And a bunch of cops just busted my backyard.
(SAM notices that SANCHA GOMEZ has just come out of the pool.)
SANCHA GOMEZ: (to phone) I mean, it's the damnedest thing you ever -- ohh!
(He starts choking. He collapses to the ground; BAILEY catches him.)
BAILEY: Get the paramedics!
(SANCHA GOMEZ dies.)
FADE OUT.
FADE IN.
[EXT. GOMEZ RESIDENCE - POOLSIDE -- DAY]
(The AGENT fishes out the dead sea snakes and the letter dice. GRACE picks the
dice out from the netting.)
GRACE: They're some kind of sea snake, probably juveniles. My guess is the
chlorine got them.
(GRACE puts the letters together.)
GRACE: "Robin"?
SAM: She thinks we're slow. We haven't figured out who she is, so she's going
to tell us.
(Quick flashbacks of the three victims.)
SAM: Why didn't Gomez know he'd been bitten?
GRACE: I don't know how sea snakes get the job done. I have to get them back
to the lab and take a look.
BAILEY: Sam.
SAM: Oh, thanks. (to BAILEY) Yeah?
(BAILEY and CHRISTINE LOGAN walk up to her.)
BAILEY: I'd like you to meet Christine Logan. Samantha Waters. Christine's
former secret service. She's now working on the Marilyn Weathers murder case
for Faircott.
SAM: The "Dear Congressman" case.
CHRISTINE LOGAN: Back in the middle ages, yes.
SAM: Ms. Logan was one of the ones who helped bust that guy who was sending the
letter bombs to the members of the House of Representatives.
BAILEY: The guy from Minnesota.
SAM: You got the similarities in the handwriting that ultimately led to him
getting caught. That was very nice work.
CHRISTINE LOGAN: Thank you.
(BAILEY'S pager beeps. He excuses himself to answer it.)
BAILEY: Excuse me.
SAM: Uh, so how did you find out about this?
CHRISTINE LOGAN: I know a lot of cops.
SAM: Any thoughts?
CHRISTINE LOGAN: Our killer puts on quite a show. But when they're this
flashy, doesn't it usually mean they want to get caught?
SAM: I don't think so. Not this time. Everything she does is guaranteed not
to let us stop her. She gets more clever with each one.
CHRISTINE LOGAN: Well, she's following a Q.D. routine -- once daily.
(SAM nods.)
CUT TO:
[INT. VCTF - FORENSICS LAB - DAY]
(GRACE goes over her findings on the snake with SAM.)
GRACE: It's called pelamis platurus -- "little white sea snake" to you and me.
And you don't want them in your swimming pool.
SAM: Why didn't Gomez feel anything?
GRACE: Well, a combination of factors: The teeth are tiny, he was actively
exercising, and he obviously never saw them. They produce a neurotoxin. First
it paralyzes, then the paralysis kills. By the time you feel the first symptom,
it's over.
SAM: Well they can't carry much venom.
GRACE: They don't have to. On a toxic scale of one to ten, their venom rates
about a thirty. One drop can kill three people.
SAM: She used a dozen. Guess she wanted to make sure.
CUT TO:
[INT. VCTF - COMMAND CENTER - DAY]
(Everyone's there - including COOP.)
COOP: Man, I hate these creepy-crawly things. Give me a nice, clean plastique
bomb any day.
SAM: Each killing is more complex, the taunting more direct. She wants us to
zero in and appreciate what she's doing.
GEORGE: By giving us Gomez's initials with loaded dice?
NATHAN: So how is she finding these animals?
BAILEY: Probably has some contacts with a pharmaceutical lab. She's smuggling
them in.
COOP: "In poison, there is physic."
BAILEY: Henry IV.
COOP: So maybe she works in one of those labs.
BAILEY: We're checking every single lab to see what animals they bring in.
You're as up-to-date as we are. Glad to have you on board.
COOP: Thanks.
GEORGE: Bailey? They found the medical examiner in Arkansas -- the one who
cremated the Pooles. His name is Rodell Peety.
BAILEY: Nathan, you and Coop go talk to him. We need to know where they came
from, and if they really have a daughter named Robin.
(NATHAN and COOP close their folders and stand up.)
BAILEY: Oh ... watch each other's backs. Jack has a bead on our every move.
(They leave the office.)
CUT TO:
[INT. JACK'S PLACE]
(The doors open to some kind of museum showroom. The cameras zoom forward and
we find ourselves at JACK'S work desk. He taps on the keyboard keys.)
(The photos of the crime scenes and accompanying poison source flash on the
screen rapidly.)
(JACK sends a fax to:
404-555-0168
SAM WATERS
(Once the fax is sent, the camera zooms backwards out of JACK'S workshop.)
(The door slams shut.)
CUT TO:
[EXT. ROADWAY OUTSIDE HOSPITAL - DAY]
(A black officer car drives up the road, it's siren wailing. It comes to a stop
at the curb. BAILEY and SAM exit the vehicle.)
[INT. HOSPITAL - HALLWAY - DAY]
(SAM and BAILEY walk up the hallway.)
BAILEY: Her name is Marjorie Brandt, 26. She does makeup demonstrations in a
department store.
SAM: Now the taunt is the victim.
(They enter the hospital room and find "MARJORIE BRANDT" on the bed, the DOCTOR
stands next to her.)
"MARJORIE BRANDT": You have to help me! I read about those -- those people who
got poisoned in the newspaper. They ... that's what's going to happen to me,
right?
DOCTOR: You've suffered some kind of envenomation.
"MARJORIE BRANDT": And you don't know what it is? She ... she said -- she
said, um ... "three hours." That should help you, right? Huh?
(SAM nods.)
"MARJORIE BRANDT": You have to figure out what--what this was, what was in the
water, what ... what bit me. She was right. I ... I only have less than an hour
to live!
DOCTOR: Nurse!
"MARJORIE BRANDT": Get it off of me!
(BAILEY turns and leaves the room. SAM stares at "MARJORIE BRANDT".)
(Quick flashes of: The frog, the spider and the snake. Resume to present.)
(SAM turns looking for BAILEY and sees him out in the hallway talking with
CHRISTINE LOGAN. SAM considers her presence there.)
(CHRISTINE notices SAM staring at her. She turns and leaves. SAM steps out and
joins BAILEY in the hallway.)
SAM: Bailey, what did she want?
BAILEY: Information.
SAM: Seems like she has a lot already.
NATHAN: (o.s.) Bailey.
(NATHAN hands BAILEY a fax. BAILEY reads it and hands it to SAM.)
BAILEY: Jack.
(The FAX reads:
The answer is in Oklahoma.
Do I have to do all the work?
Signed,
Special Agent
Jack O. Trades
BAILEY: Just what we need -- two maniacs making us look like fools.
(BAILEY walks away.)
(Quick flash to the bayou and the wooden boat tied to the pier. Flash of JACK
walking through the water. Flash of a bare-chested man. Resume to present.)
(Camera pushes in slowly on SAM.)
TO BE CONTINUED
FADE TO BLACK.
==========================
END OF PART 1
CONTINUE TO PART 2
==========================
[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
1X21: VENOM (1)
ORIGINAL AIR DATE ON NBC: 05/10/1997
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
Special Guest Star
A MARTINEZ as Nick "Coop" Cooper
Special Guest Star
LORI PETTY as Robin Poole
JOAN SEVERANCE as Christine Logan
JAMES HANDY as Lou Handleman
HEATHER McCOMB as Frances Malone
RIC CASORLA
and
JACK
Co-Producer: JOHN FORREST NISS
Co-Producer: CHARLES HOLLAND
Produced by: ANTHONY SANTA CROCE
Supervising Producer: CYNTHIA SAUNDERS
Executive Consultant: STEVE FEKE
Co-Executive Producer: GEORGE GEIGER
Written by: STEVE FEKE
Directed by: JAMES WHITMORE, JR.
==========================
END CREDITS
==========================
Sanders/Moses Productions
NBC Studios
NBC Enterprises
Also Starring
PING WU as Michael Sung
RANDY CROWDER as Detective Issacs
ED BRIGADIER as ICU Doctor
with
CHRISTOPHER CARROLL as Byron Jarvis
GERALD CASTILLO as S.W. Gomez
MARK COLSON as Carter Poole
ALISON McMILLAN as Shirley Poole
LINDA PHILLIPS as Marilyn Weathers
Story Editor: BOB LOWRY
Casting: ANTHONY BARNAO
Director of Photography: KEES VAN OOSTRUM
Production Designer: JONATHAN CARLSON
Edited by: KAREN STERN, 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: ROSS JUDD
First Asst. Cameraman: PENNY SPRAGUE
Dolly Grip: RICK MAXEY
Production Sound Mixer: KEN SEGAL
Second Second Assistant Director: LAURA SYLVESTER
Location Manager: ILT JONES
Gaffer: JOHN SPRAGUE
Key Grip: RONN COONEY
Construction Coordinator: ANDREW MOORE
Transportation Coordinator: STEVE ZERWECK
Script Coordinator: ERNIE ORSATTI
Special Effects Coordinator: JOHN GRAY
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: VIVIAN BAKER
Hair Stylist: LAURA DELUISA
Production Auditor: KATHY RILEY
Script Supervisor: JANEL F. REEVES
Production Coordinator: MIKE HUBERT
Assistant to Executive Producer: NICHELLE M. PROTHO
Assistant to Co-Executive Producer: MADELINE BELL
Assistant to Producer: SUSAN SCHMIDT
Post-Production Supervisor: KENNETH RAICH
Computer Graphics: PAUL LeBLANC
Assistant Editor: KERRY MICHAEL TYM
Insert Coordinator: CRAIG FELLER
Playback Supervisor: BOB MORGENROTH
Post Production Coordinator: AYANNA HART
Supervising Sound Editor: PETER AUSTIN
Sound Effects Editor: LINDA KEIM
Music Editor: BRIAN RICHARDS
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) 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:06/05/2004~lky
http://www.webphilia.com/~anthology/wnp.html