PROFILER
1X22: VENOM (2)
ORIGINAL AIR DATE ON NBC: 05/10/1997
TRANSCRIBED FROM DVD
Written by: BOB LOWRY
Directed by: DAN LERNER
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 meets the killer only to lose her again. The killer then
goes after the VCTF. Jack involves himself in the case. Sam is bitten by a
spider and is caught by Jack. Bailey is shot by his daughter and ends up in
surgery. John joins Coop and George as they desperately sort out the clues to
find Sam.
==========================
PROFILER
1X22: VENOM (2)
==========================
FADE IN.
NARRATOR: Previously on "Profiler"
[Scenes from 1X21: Venom (1)]
[INT. HASTE'S RESIDENCE - SAUNA - DAY]
(The intruder carefully places the shoe box on the floor.)
(White flash: DONALD HASTE is found on the sauna floor.)
MICHAEL SUNG: (v.o.) Time of death was about eight hours ago.
(Cut to: The frogs in the drain.)
GRACE: (v.o.) From what?
MICHAEL SUNG: (v.o.) From these.
(Cut to: The lettered dice placed on the window sill: B-C19-H33-N-O3.)
SAM: (v.o.) Could be a clue.
(Quick flashes of: The killer placing the lettered dice on the window sill, of
the frogs in the drain, of the dead body on the sauna floor. End of flashes.)
[INT. FREDERICK'S RESIDENCE - GARAGE - DAY]
(BERT FREDERICKS is visited by the killer. She puts the burlap bag over his
head.)
ROBIN POOLE: Shut up, trash! And don't be so stupid!
[INT. VCTF - COMMAND CENTER - DAY]
(BERT FREDERICKS, the mailman, tells his story to the team.)
BERT FREDERICKS: I just could swear that she was gonna kill me.
SAM: She wanted to use you. She's taunting us.
[EXT. WEATHERS' RESIDENCE - DRIVEWAY - DAY]
(BAILEY throws the dice on the car hood.)
GEORGE: (v.o.) A-t-r-a-X.
[INT. VCTF - COMMAND CENTER - DAY]
GEORGE: Atraxin, which is a protein and atrax--
GRACE: Rubustrus. Atrax rubustrus.
[EXT. WEATHERS' RESIDENCE - DRIVEWAY - DAY]
(MARILYN WEATHERS sits in her car and answers her cell phone.)
GRACE: (v.o.) It's a venomous spider.
MARILYN WEATHERS: Hello?
WOMAN (ROBIN POOLE): (over phone) Good-bye.
(She screams and puts the phone down. We see there's a spider on her cheek.)
[INT. HOSPITAL - FREDERICK'S ROOM / HALLWAY- DAY]
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. Special F.B.I. Agent Jack Trades
... from your office.
SAM: Jack considers himself the best, the ultimate taunter. Maybe he doesn't
like this lady's competition.
[INT. VCTF - COMMAND CENTER]
GRACE: There was a genealogy chart, standard for deaths by an unknown disease.
It lists a daughter, name and age unknown.
SAM: That's the killer.
[FAX]
(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.
FADE TO
END OF TEASER
ROLL TITLE CREDITS
FADE IN.
[EXT. COMMUNITY (STOCK) - DAY]
LEGEND:
PEA RIDGE, ARKANSAS
(A helicopter flies low overhead.)
[EXT. PEETY RESIDENCE -- DAY]
(COOP is on the phone.)
COOP: All right. We'll get back to you.
(COOP hangs up and tells NATHAN the news.)
COOP: Bad news. Hospital just told Bailey they can't save the new victim. All
they can do is watch.
NATHAN: God. At least the others were quick.
COOP: I think I'll pass either way, thanks.
(They both head for the residence.)
NATHAN: Mr. Peety!
(They get closer to the residence, a beat-up old trailer-camper.)
NATHAN: Mr. Rodell Peety!
(They both take out their guns.)
NATHAN: Remember to take it easy, all right?
COOP: Yeah.
NATHAN: Jack's a step ahead of us. He might have left a present.
COOP: Keep thinking trip wires, brother.
NATHAN: You got it.
(NATHAN and COOP surround the camper from each side. NATHAN lifts the opened
window to look inside.)
(From behind COOP, an old man carrying a rifle steps out of the bushes.)
RODELL PEETY: Don't move!
(COOP turns around. RODELL PEETY fires on the ground at COOP'S feet.)
NATHAN: Coop!
(NATHAN heads for COOP.)
COOP: One shooter! I'm not hit! You Peety? Put down the gun, sir.
(RODELL PEETY shakes his head.)
NATHAN: There's two of us. You can't win.
RODELL PEETY: You either. You shoot me, he dies. You're about to wake a
timber rattler out of its nap. (He points to the dead snake on the ground.) We
get them thick as your wrists.
COOP: I'll thank you later. Right now, we got a shotgun to talk about.
NATHAN: Mr. Peety. We're Brubaker and Cooper. (NATHAN holds up his badge.)
My partner called you, remember, about the Poole case? We're F.B.I.
RODELL PEETY: I looked at one of those badges yesterday and got some brass
knuckles to my jaw.
COOP: Ok. That man is an impostor. He's part of the reason we're here. So,
why don't you break open your piece and let it down nice and easy, and we can
put down our guns. Mister, my arms are getting tired.
(RODELL PEETY takes the bullets out of his gun and tosses them aside.)
NATHAN: This so-called Agent Trades?
RODELL PEETY: Jack Trades. Phony name. Serious son of a bitch. He really
whaled it out of me.
COOP: You're not the first. If it's any consolation, most of the rest aren't
still walking around.
RODELL PEETY: He won't be, either, if I find him first. And what's with these
Pooles? How come they're the most popular white trash around? They've been
dead ten years. Damn.
[INT. POOLE RESIDENCE - DAY]
(The door opens. COOP steps into the camper - followed by RODELL PEETY and
NATHAN.)
NATHAN: The lock was freshly cut. Jack was inside.
COOP: Don't touch anything, Mr. Peety.
RODELL PEETY: Yeah, yeah.
COOP: So, no one has lived here since the Pooles?
RODELL PEETY: You call this living?
COOP: What was the cause of death?
RODELL PEETY: We didn't figure it out.
NATHAN: No autopsy?
RODELL PEETY: I didn't say that. We did the usual, nothing sophisticated.
Cremated the remains that day. It was the safest thing to do. These people
were hemorrhaging through the eyes. For all I know, some African virus took
them.
COOP: In Arkansas?
RODELL PEETY: Yeah. I sent four samples of blood to the F.I.D.A.
(NATHAN sees the package from JACK on the mantle.)
NATHAN: Coop.
RODELL PEETY: Took my temperature for a week, closed the file.
NATHAN: Did you notify the daughter?
RODELL PEETY: Couldn't find her. She run away before then. You know where she
is?
NATHAN: I'm thinking Oklahoma City.
(NATHAN looks at the high school year book in his hands for OKLAHOMA CITY, LANGE
HIGH BENGALE, 1989.)
(He opens the book and they find a photo of ROBIN POOLE.)
COOP: That's Robin Poole.
CUT TO:
[INT. HOSPITAL - "MARJORIE BRANDT'S" ROOM -- DAY]
( )
BAILEY: (to phone) Fax the photo to the V.C.T.F., Then get on a plane to
Oklahoma. And watch out for Jack. Bye.
(BAILEY hangs up and walks over to SAM as she watches DR. STEINMETZ with
MARJORIE BRANDT.)
BAILEY: We've got a picture of Robin Poole coming down the wire.
SAM: I think we know what she looks like.
BAILEY: Well, imagine the luck of being born looking like that mad woman.
Excuse me, Dr. Steinmetz. May we have a word with her now?
SAM: Marjorie, we'd like to ask you a couple of questions, if that's ok.
(The DOCTOR tries to wipe her brow, but "MARJORIE" pushes his hand away.)
"MARJORIE BRANDT": Uh! No. Just do something. I'm dying. First ... I'd
like...to see a priest, please. And--and my purse ... has my ... rosary beads
in it. I ... I'd like to be ... alone.
SAM: Of course.
(They withdraw and the nurse closes the curtains around the bed. CHRISTINE
LOGAN walks up to BAILEY and SAM in the hallway.)
CHRISTINE LOGAN: No hope? I need to speak to her before she dies.
BAILEY: She's asked for the last rites, Miss Logan, so save your morbid
curiosity for another day, ok?
CHRISTINE LOGAN: You can rescind your cooperation with me, but this is a public
hospital. I don't need your permission.
BAILEY: Well, you need the patient's permission. She wants privacy.
(BAILEY and SAM walk away and down the hallway.)
SAM: Bailey, let her talk to her.
BAILEY: Why?
SAM: I'd like to see the effect Christine's voice has on Marjorie.
BAILEY: You're thinking she's the killer: A brilliant woman taunting the
F.B.I., flaunting herself in our midst.
SAM: I don't know.
OVERHEAD: Code blue, room one.
(The machine beeps a flat line warning signal. Nurses and Doctors run to the
room. BAILEY and SAM run to the room.)
SAM: Is that her?
BAILEY: That's her.
[INT. HOSPITAL - "MARJORIE BRANDT'S" ROOM - DAY - CONTINUOUS]
(DR. STEINMETZ opens the door and pushes the curtain away from the bed only to
find it empty.)
DR. STEINMETZ: Where the hell is she?
BAILEY: Don't touch anything.
(BAILEY picks up the empty vial left on the bed.)
BAILEY: Is this yours?
ER DOCTOR: No.
SAM: Did you see her?
NURSE: No. Nobody.
BAILEY: Marjorie Brandt is near death. She gets out of bed and walks away.
(SAM looks at the back door and finds a message left on the mirror written with
red lipstick. It's of two large 'parent' stick figures, a smaller 'child' stick
figure and the name: ROBIN.)
(Quick flashes of the various victims both dead and alive. Resume to present.)
SAM: That wasn't Marjorie Brandt. That was Robin Poole.
FADE OUT.
FADE IN.
[INT. HOSPITAL - ROBIN POOLE'S ROOM-- DAY]
(An AGENT dusts the mirror for prints.)
BAILEY: Robin Poole is nothing if not consistent. Another damn puzzle.
SAM: (shakes her head) It's too simple. There's got to be something else.
BAILEY: Let's mop up every molecule in this room, dupe the hospital videotapes,
and get a rush on the forensics. (He looks at the baggie.) It's a power hypo.
It's a countermeasure for nerve gas. All you need to be able to do is jam it
into your body ... it does the rest.
(Quick flashes of: ROBIN POOLE alone with her purse on the bed.)
SAM: She waited in agony until she was nearly dead, and then she gave herself
the antivenin. She's really quite astonishing. I mean, imagine stinging
yourself with a lethal venom, and then handing yourself to the very people
trying to catch you.
BAILEY: Dares us to figure it out.
SAM: She's bored. We're moving too slow.
BAILEY: At least we can scratch Christine Logan off the list of suspects.
Robin left us a clue in here, and we've go to find it. Or else, in twenty-four
hours, someone else is going to die.
(SAM and BAILEY leave.)
CUT TO:
[EXT. FBI BUILDING (STOCK) - DAY]
[INT. VCTF - COMMAND CENTER - DAY]
(GEORGE has the high school yearbook photo of ROBIN POOLE on the monitor.)
GEORGE: Robin Poole in 1989 ... and as she probably looks now ... (He morphs
the photo a bit.) ... and finally ... (He adjusts the photo again.) ... a
little makeup. Ironically, I'm using Donald Haste's software to do this.
BAILEY: So, Robin runs away in 1986 to parts unknown. Her parents, Shirley and
Carter, die in 1987.
SAM: Her first kill.
GEORGE: 1988, she surfaces in Oklahoma city.
BAILEY: We've got Cooper and Nathan there now seeing what they can dig up.
GEORGE: We got APBs out: City, State, and Federal.
Her picture will be in the evening news, in the newspapers, and posted at bus
stops and post offices.
SAM: How'd she pull off the Marjorie Brandt pseudonym?
BAILEY: Marjorie didn't even exist until two weeks ago. We didn't have time to
check out her I.D. Till she was gone. Here's the security video from the ICU.
(On the monitor, ROBIN POOLE takes the hypo from her purse and injects herself
with it.)
SAM: She knew exactly how much strength she'd have to have left to give herself
that shot. Perfect timing.
GEORGE: I'll say, considering she was messing with Chironex Fleckeri, or the
sea wasp jellyfish. This venom is so toxic that a solution diluted 10,000 times
will kill you in 5-10 minutes.
BAILEY: Robin survived for 3 hours.
(Quick flash of: A hand dipping into the water to brush against the jellyfish.
Resume to present.)
SAM: She could have pre-inoculated herself with the antivenin to slow down the
poison. But that would mean she experimented with it first.
GEORGE: No second chance. One mistake: It's blindness and respiratory failure.
(Back on the monitor, they watch as ROBIN POOLE steps out into the bathroom.
When she returns, she's in street clothes. She climbs up onto the bed to
address the camera.)
GEORGE: What is she saying?
SAM: You're blind ... and you're stupid.
(On the monitor, ROBIN POOLE leaves.)
GEORGE: And then she just walked out the door of the service exit right past
the guard.
CUT TO:
[INT. VCTF - BAILEY'S OFFICE]
(SAM knocks lightly on the door before walking into the office. She finds
BAILEY there reading through brochures for DICKENS ACADEMIC RESIDENCE.)
SAM: Hey. What's the matter?
BAILEY: Frances. I'm at the end of my rope.
SAM: Well, is she ok? Well, where is she?
BAILEY: At home with Ellen. I've been tossing around some other ideas. What
do you -- ever hear of that place?
(He hands her the brochure.)
SAM: "The Dickens Academic Residence"? No. "24-hour supervision and lockdown
capabilities"? It's a little severe, don't you think?
BAILEY: Well, it's got a great success rate -- good curriculum. (sighs) am I
supposed to do, Sam? She's a danger to herself, and I can't get through to her.
SAM: Well, Bailey, there are alternatives. Look, I can make a couple of phone
calls, and we can go over things later.
BAILEY: She turns eighteen in nine months. If she doesn't get her head on
straight by then ... anything could happen.
CUT TO:
[INT. VCTF - COMMAND CENTER]
(NATHAN reports.)
NATHAN: Robin's trail -- everywhere we went, Jack had been there first.
COOP: Two different witnesses -- both said Jack flashed a badge, then beat the
crap out of them when he didn't like their answers.
NATHAN: Two different descriptions -- the only thing they had in common was the
man sweated a lot.
SAM: Latex disguises.
GEORGE: Why is Jack so interested in Robin?
BAILEY: He's intrigued by her. Impressed, challenged. Wants to prove that
he's smarter than she is.
COOP: I'd go further. Jack's all over Robin because she reminds him of
himself.
SAM: He's jealous.
NATHAN: We got these notebooks from one of Robin's high school teachers in
Oklahoma. Her mentor. We talked to her after Jack did, of course.
COOP: This woman sent Robin's notebooks to a professor at M.I.T. Apparently
Robin had developed some sort of shorthand chemical formula. Don't know why
that's important, but it got her a full academic scholarship.
NATHAN: She went on to graduate Summa cum laude with a double major in biology
and chemistry in three years.
SAM: No cross-outs, no doodles, no wasted space. No mistakes.
COOP: Not so far.
CUT TO:
[INT. VCTF - SAM'S OFFICE]
(SAM and CHRISTINE LOGAN go over the notebook.)
CHRISTINE LOGAN: A woman of few words and many symbols.
SAM: Yeah. Anything about the handwriting jump out at you?
CHRISTINE LOGAN: All black ink, no smears. Indicates a strong and organized
personality. But look here, see the abbreviated end sweep of her letters. They
suggest she's writing quickly. She's impatient.
SAM: Well, that fits. Whatever she sets out to do, she doesn't waste any time.
(Quick flash of: ROBIN POOLE at the hospital taunting the security camera.
Flashes of the dice at the other crime scenes. Resume to present.)
SAM: Why didn't she leave us any dice or anything? She always leaves us a
clue.
CUT TO:
[INT. HOSPITAL MEDICAL CENTER - DAY]
(SAM is back at the emergency room ROBIN POOLE used. She looks around and finds
something taped to the bed's metal frame.)
(Quick flashes of: Photos of the crime scene and poison source, of the dice
left at the scenes, and of someone leaving the clue taped to the bed's metal
frame. Resume to present.)
CUT TO:
[INT. VCTF - COMMAND CENTER - DAY]\
(GEORGE scans the bar code into the computer.)
GEORGE: It's a bar code. It's the same as you get on the back of a can of
beans at the grocery store. You read it with this little magic wand.
BAILEY: Why didn't forensics pick up on it?
SAM: Well, maybe they thought it was for inventory. But I couldn't find
another one in the room.
GEORGE: You get 17 Fern Haven. That's headquarters for Earthtones, which is an
ecologically savvy line of cosmetics. Chief Executive: Melissa Cotton.
CUT TO:
[EXT. COMMUNITY (STOCK) -- DAY]
LEGEND:
ROME, GEORGIA
(A helicopter flies overhead.)
[EXT. EARTHTONES - FRONT -- DAY]
(The SECURITY GUARD walks with BAILEY, SAM and COOP.)
SECURITY GUARD: Ms. Cotton's in Brazil. Goes there twice a year. Some rain
forest plant preservation conference.
SAM: She's in Brazil?
COOP: Who's assuming her responsibilities?
SECURITY GUARD: Um, that would be marlin fender, head of research. Should be
in hothouse number 7.
BAILEY: Hazmat leader, this is Malone. We're going to soft recon the
structure. Stand by at high ready. Secure the outside. Let's go to work.
[INT. EARTHTONES - HOTHOUSE NUMBER 7 - DAY - CONTINUOUS]
(BAILEY, SAM and COOP walk into the hothouse.)
BAILEY: Marlin Fender?
MARLIN FENDER: Back here.
BAILEY: We're with the F.B.I., Mr. Fender.
MARLIN FENDER: F.B.I.? W-what's wrong?
COOP: (interrupts) Bailey. Bailey, take a look at this.
(COOP motions for them when they find a strange object among the plants.)
BAILEY: Did you leave this here, Mr. Fender? Hazmat leader, deploy to hothouse
7. Secure black and white object, unknown origin. Possible biohazard.
SAM: Something's wrong. Why would she leave a clue and not a victim?
BAILEY: The CEO's in Brazil, Mr. Fender isn't hurt.
(Quick flashes of the victims and poison sources.)
SAM: They're not the victim ... we are.
(COOP motions for Hazmat when he sees them arrive outside. He reaches for the
door.)
COOP: In here!
SAM: Coop, no! Don't touch the door.
CUT TO:
[INT. VCTF - COMMAND CENTER - DAY]
(A photo of the octopus is on the monitor.)
GEORGE: Robin's latest weapon: Hapalochlaena maculata, or to those who've had
the misfortune to handle it, the blue ring octopus. It can only live out of
water about half an hour. So she must have cut it close.
SAM: What about the box we found?
GEORGE: Nothing yet. Magnetic resonance shows that it's hollow. No venoms.
And she left us a little note stuck between two of the segments.
SAM: "Do I have to draw you a picture?"
GEORGE: And she did. She's painted separate segments of a design on all six
sides.
COOP: So what's the problem? Twist it.
GEORGE: The problem is: You've got six sides, right? Four of them have
eighteen segments, the other two have nine, which means the possible
combinations are almost endless. It's a number with over twenty digits.
(SAM continues to twist the sides of the object.)
COOP: Guess we'll skip lunch.
(Quick flashes of the dice left at the scenes.)
SAM: Which cosmetic companies carry earthtone products?
GEORGE: It's pretty high-end stuff. No animal testing and so forth. Ok, you
got amalgamated eastern, beanblossom, and meadowgrace.
SAM: Pull up their logos.
(GEORGE puts the logos up on the monitor. One of them matches the pattern on
the side of the cube.)
SAM: It's Meadowgrace.
GEORGE: Meadowgrace --
(COOP looks at SAM with awe. SAM sees the look and explains.)
SAM: I'd seen it before.
GEORGE: Independent wholesale distributorship--
BAILEY: Let me guess. Based in Atlanta.
GEORGE: Right. The company's the brainchild of a local named Kendrick Lawton.
BAILEY: Let's go.
CUT TO:
[INT. FBI - FORENSIC LAB -- DAY]
(The LAB TECH draws some of KENDRICK LAWTON'S blood.)
KENDRICK LAWTON: One minute I'm in my office looking at fall color palettes,
and the next minute, three men in moon suits show up.
BAILEY: Well, we're sorry for the inconvenience, Ms. Lawton, but we have a
killer on the loose.
KENDRICK LAWTON: Well, they told me that, but it's a lousy excuse for dragging
me down here in a decontamination van.
COOP: Did they tell you one of our victims died bleeding from the eyes?
SAM: Uh, excuse me. Does the name Robin Poole mean anything to you?
KENDRICK LAWTON: I don't know her as Robin Poole or anyone else.
NATHAN: Our hazardous material team has cleared your office, your car, and
home. We think you're safe.
KENDRICK LAWTON: Oh, well, let's hope so. Now, I have given a gallon of blood
here. Don't I at least get a piece of fruit or something?
NATHAN: Thank you very much, Ms. Lawton. I will make sure that you get
something to eat.
BAILEY: If she didn't do anything to Kendrick or didn't leave a clue at
Meadowgrace, maybe she just disappeared.
SAM: No, she wouldn't just disappear.
BAILEY: Ok, what if she slipped up and got poisoned by one of her own bugs?
SAM: Or maybe Jack's found her web.
CUT TO:
[INT. JACK'S PLACE]
(JACK opens a box and tosses the shredded paper filling up and over his head all
over the place. He laughs softly to himself.)
(He removes books and disks from the box.)
JACK: Mi casa, su casa. Now ... let's play open house.
(He installs one of the disks on his computer. He brings up his INTERNET ACCESS
for JACK'S HOMEPAGE.HTML and starts to build his website. He brings up photos
and pictures of spiders and other poisonous creatures and has stick figured
pictures with SAM'S smiling face superimposed on it.)
(He hits a button and the message appears: SORRY JACK, A SYSTEM ERROR
OCCURRED.)
JACK: "Sorry, Jack"? Don't be sorry.
(He clicks "CONTINUE".)
(He continues drawing his picture of a stick-figure family with SAM'S face on
one 'parent' and all the children. The face of the second 'parent' is blank.)
JACK: Blocks of cheese and sparkling grapes, at your w-w-w-dot-jackotrades-dot-
com.
(Focus on the URL for Jack's new web site: http://www.jackotrades.com/ )
FADE OUT.
FADE IN.
[INT. VCTF - COMMAND CENTER -- DAY]
(SAM and BAILEY walk into the office.)
GEORGE: I'm sorry for the wake-up call. Jack just came on-line at 11:43 P.M.
Looks like he's got his own web page.
(On the wall monitor is the web page.)
BAILEY: He's on the internet?
SAM: He's gone public.
GEORGE: Very public. Anybody with a pc and a modem can make a connection. I
found the results of his search for Robin's U.S. Customs records. Here's what I
get when I click on U.S. Customs. Her permits are available, but her address
deleted, and in its place is this message from Jack: "Finders keepers."
(Quick flashes of: [INT. JACK'S PLACE] JACK handles a gun. Resume to
present.)
SAM: He won't tolerate Robin getting ahead of us or him. He's reminding us how
clever he is.
BAILEY: George, can you trace the origin of his web site?
GEORGE: It's already done, but here's the problem. You know, an internet site
is nothing more than a bunch of computer files, and it doesn't matter where the
computer itself is. See, he's moving every ten seconds. Norway, Tahiti,
Billy's internet game zapper in Tampa, Department of Justice, Atlantic P.D.,
U.S. Customs, our front lawn. He's like hacking into everything, and he's
leading us right where he wants us.
BAILEY: Ok, so how do we get to him?
GEORGE: We don't, unless we can get to him while he's uploading.
BAILEY: Well, find a way, George. Find a way.
GEORGE: Yes.
(BAILEY stands up and leaves. GEORGE starts typing. SAM remains behind, her
eyes on the web site and the stick 'parent' without a face.)
CUT TO:
[INT. JOHN'S PLACE -- MORNING]
(ANGEL is lying on bed, naked and under the sheets.)
ANGEL: You know, if I take that job in Charlotte, I might not see you for six
months, maybe even longer.
(JOHN is lying on the bed, naked and giving ANGEL a foot rub.)
JOHN: You can come back on weekends.
ANGEL: Yeah, but if I didn't, would you come visit me?
JOHN: Nope.
(They're silent for a beat.)
(They laugh.)
JOHN: Sure.
ANGEL: Yeah? Hey, you don't sound too convincing.
JOHN: Hey, I'm the one massaging your feet. What more commitment do you want?
ANGEL: Come on. Come on, no, I'm serious. I'm serious. I don't know if I
want to leave you for six months, but ... I mean, if you're not serious about
this and this is just ... this, I'd like to know.
(JOHN doesn't say anything and ANGEL doesn't like it.)
ANGEL: Ok.
JOHN: Hey, wait a minute.
ANGEL: No.
JOHN: Come on, Angel -
(ANGEL puts on her shirt.)
ANGEL: No. Wait. You're taking too long to answer, which, as far as I'm
concerned, is an answer. I think I'm going to go home, okay?
(She gets out of bed and leaves the room.)
JOHN: Wait a second.
(JOHN sighs.)
CUT TO:
[INT. JACK'S PLACE - DAY]
(JACK'S got a mini lab on his table. He mixes his concoction as the record
plays.)
LYRICS:
Girl, I don't look for your love / I don't see the stars above / I look for
your eyes / just your eyes / lovelight burns in your eyes...
(He pulls down an eye chart, then sits back in his chair while pulling the
magnifying light toward him. He takes the bottle with the mixture in it off the
side table and using the eye dropper, puts a little of the yellow mixture in his
left eye.)
(JACK'S POV: His vision is hazy as he waves his hand in front of him.)
JACK: Now I see you ... now I don't.
CUT TO:
[INT. VCTF - BAILEY'S OFFICE - NIGHT]
(BAILEY is reading a while on the phone with ELLEN BEHAR.)
BAILEY: What's that pounding?
INTERCUT WITH:
[INT. BAILEY'S PLACE - NIGHT]
(ELLEN sits in the chair near the desk as she's on the phone. Her free hand is
rubbing her temple.)
ELLEN BEHAR: Music. She went to her room about an hour ago.
BAILEY: Well, I'll be home in about a half hour. Just do me one more favor,
Ellen. Will you stick your head in, see if she's ok?
ELLEN BEHAR: Ok. I'll see you in a bit.
BAILEY: (rubs his eyes) Ok. Thanks.
(ELLEN BEHAR hangs up. She walks over to FRANCES' room door and knocks.)
FRANCES: (through door) We're closed!
(ELLEN BEHAR opens the bedroom door and finds Frances on the bed flipping
through a magazine.)
ELLEN BEHAR: (shouts) Now you're open! (FRANCES sighs.) Your father called.
He'll be home in half an hour.
FRANCES MALONE: What, would you like me to throw him a parade?
ELLEN BEHAR: And turn off that earthquake that you call music!
FRANCES MALONE: Eat glass!
(ELLEN BEHAR turns around and leaves. Frances continues to flip through the
magazine and finds the brochure for the "Dickens Academic Residence" in between
the pages.)
(She looks around, then quietly slides the window glass open. Taking her
magazine with her, she climbs out of the bedroom.)
CUT TO:
[INT. JOHN'S PLACE -- NIGHT]
(The doorbell rings. Shirtless, JOHN goes to answer it.)
JOHN: Hey, Angel. So, you changed your mind.
(He opens the door and finds FRANCES MALONE there.)
JOHN: Frances? You ok?
(She steps inside and waves the brochure up at him.)
FRANCES MALONE: Look at this. My one-way ticket to hell.
JOHN: Ah, just a sec.
(He puts on a shirt.)
JOHN: You want something? Something to eat?
FRANCES MALONE: No.
(He takes the brochure from her and looks at it.)
JOHN: Here. Where'd you get this?
FRANCES MALONE: Super dad's personal effects.
JOHN: Dickens. It's not exactly a trip to paradise, but it's not the worst.
Good staff, facilities are first class.
FRANCES MALONE: Look, John, I need your help. If he makes me go there, I'll,
um ...
JOHN: You'll what?
FRANCES MALONE: I'll bail. He is not sending me to death row. I would rather
live on the streets.
JOHN: Frances, you hung out on the streets, then you went home to cotton sheets
and a warm meal -- you never lived there.
FRANCES MALONE: I could.
JOHN: Come here. Sit down. Two kinds of girls on the streets: Those who have
been hurt and those who get you don't want to go there.
(The doorbell rings. JOHN answers the door; BAILEY walks in.)
BAILEY: Hello, John.
FRANCES MALONE: You told him I was here?
JOHN: How could I have? I didn't know you were coming.
BAILEY: I knew where to find you, Frannie. Come on, let's go home.
(FRANCES brushes past JOHN.)
FRANCES MALONE: You know what, John? You suck.
(BAILEY grabs FRANCES and pulls her toward the door.)
BAILEY: Thanks, John.
(They leave.)
CUT TO:
[EXT. BUILDING (STOCK) - DAY]
[INT. SAM'S PLACE -- DAY]
(SAM is in the dark room developing the photos she took at dinner. She's on the
phone with COOP.)
SAM: No, I couldn't sleep.
COOP: (from phone) Me, neither.
SAM: Yeah? Have you eaten yet?
COOP: (from phone) You asking me out, lady?
SAM: Hmm, I guess that's what I'm doing. Tell you what? Why don't, uh, why
don't you pick me up in like half an hour in darkroom number seven. How's that
sound?
COOP: (from phone) You got it.
SAM: Ok. I'll see you then.
(SAM hangs up the phone. She pushes the folder on the table aside and absently
touches the spider under it.)
SAM: Ouch! Ohh!
(She bats her arm knocking the spider off. Fearing the worst, SAM grabs the
phone from the wall and tries to call for help, but she falls to the ground
unconscious.)
(The door opens and the environment is cast in Jack's blue-ish hue.)
(JACK takes out a syringe and pushes its contents into SAM'S chest.)
(He notes SAM'S bleeding ears, then turns her head face forward to put in the
yellow-ish colored liquid into her eyes.)
(He covers her face with the burlap sack.)
FADE TO:
[LATER]
(Someone knocks on the door to Darkroom Number 7. The door opens and COOP pops
his head into the room.)
COOP: Sam?
(He looks around. He walks into the room and turns the lamp on.)
(He picks up the map pasted in a file folder and looks at it. Pinned to the map
are cut photos. One photo is of SAM.)
(COOP looks around the place and finds the dead spider in the developer fluid.
He runs out of the room.)
COOP: Sam!
CUT TO:
[INT. BAILEY'S RESIDENCE - BEDROOM -- DAY]
(BAILEY exits the bathroom. He rubs his face as if just shaven and continues to
button his white shirt. He closes the gun cabinet door and turns to make his
bed.)
(He turns and finds his gun holster on the dresser ... empty. He picks up the
holster and heads out of the room looking for ... )
[DINING ROOM]
(BAILEY heads for FRANCES' room and finds the door locked.)
BAILEY: Open the door, Frances.
(BAILEY he shakes the knob and knocks on the door.)
BAILEY: Frances, open the door!
[FRANCES' BEDROOM]
(Inside, FRANCES is stuffing her clothes into a duffle bag. BAILEY pounds on
the door, his patience wearing thin.)
BAILEY: (shouts) Open the door, Frances!
(He waits a beat, then pushes the door in breaking the lock. He finds FRANCES
crying. He looks at the things on her bed and starts tossing through them
looking for his gun. He grabs her duffle bag and searches it.)
BAILEY: Where's my gun?
(FRANCES continues to cry.)
BAILEY: Where's the gun, Frances?
(He starts stripping the bed looking for his gun.)
BAILEY: Where's the gun?! Where's the gun, Frances?
FRANCES MALONE: I found the brochure.
(BAILEY turns and starts searching the other piles of clothes looking for his
gun.)
FRANCES MALONE: And you know what? I'm not going! (She hits BAILEY.)
(shouts) I would rather die, okay?
(He tries to grab her, but she continues to slap at his hands.)
FRANCES MALONE: Stop!
BAILEY: Don't you say that!
(He grabs her by her upper arms and holds onto her.)
BAILEY: Don't you ever say that!
FRANCES MALONE: Stop!
BAILEY: Don't you ever say that!
(BAILY turns to search for his gun. His back is to FRANCES. She turns and
grabs the gun and holds it out in front of her pointed at BAILEY.)
(BAILEY turns around and finds his gun on him.)
BAILEY: Okay. Okay. Let's stop this, okay?
FRANCES MALONE: I can't go there, daddy.
BAILEY: Give me the gun, Frances.
(He holds out his hand for the gun.)
FRANCES MALONE: Daddy, at least send me to mom, please?
BAILEY: Give me the gun, Frances.
FRANCES MALONE: Anything but that place. I can't go there. I can't go there.
BAILEY: That place might be good for you, Frannie.
(She turns around and fires. The bullet hits the lamp and ricochets, hitting
BAILEY.)
FRANCES MALONE: No!
(BAILEY falls to the ground. FRANCES drops the gun and picks up the phone.)
JOHN: (from phone) Hello?
FRANCES MALONE: (to phone) (crying) Why didn't you help me when I asked?
This is all your fault.
INTERCUT WITH:
[INT. JOHN'S PLACE - DAY]
JOHN: (to phone) Frances?
(FRANCES drops the phone near BAILEY and leaves.)
JOHN: (to phone) Bailey? Bailey?
(JOHN listens for a moment, then slams the phone down. He's already in motion.)
(BAILEY is on the floor breathing heavily.)
FADE OUT.
FADE IN.
[EXT. HOSPITAL -- EMERGENCY ENTRANCE - DAY]
(JOHN rounds the corner just as an ambulance is leaving. He parks the car in
front of the emergency entrance; BAILEY is in the passenger seat. An ER
physician is there with a ready gurney.)
(They're taking BAILEY out of the car as JOHN gets out of the driver's side to
help.)
ER PHYSICIAN: Tell me what you know.
JOHN: Nine-millimeter. Full-jacketed slug at close range.
(They put BAILEY on the gurney.)
ER PHYSICIAN: When did he lose consciousness?
JOHN: That's how I found him. He hasn't said a word.
(JOHN moves to hold BAILEY as they wheel him into the hospital. The physicians
shout orders as they move.)
ER PHYSICIAN: He lost a lot of blood, man.
ER PHYSICIAN: We've got a bleeder!
ER PHYSICIAN: Have him cross-matched for O.R.
ER PHYSICIAN: Ready pre-op for x-rays.
(The double doors swing shut on the camera. Through the glass window, we see
them working on BAILEY as JOHN waits.)
CUT TO:
[INT. WAREHOUSE -- DAY]
(SAM is lying on a mattress on the floor. She wakes up and slowly realizes that
she can't see. Her vision's blurry.)
SAM: (whispers) I can't see. I can't s-see.
(JACK is there with his digital camera. He snaps photos of SAM.)
SAM: My eye.
(He snaps more photos.)
CUT TO:
[INT. CAR (PARKED) -- DAY]
(COOP is on the phone with GEORGE.)
COOP: Robin Poole's got Sam. She was supposed to be in her darkroom. I went
there, found a map with twenty-five pins that are stuck in what look to be
addresses. They're all over town.
INTERCUT WITH:
[INT. VCTF - COMMAND CENTER - DAY]
(GEORGE is on his laptop.)
GEORGE: I'll put out a scramble to Atlanta P.D.
COOP: Every car they got, man. We need a total blitz. I'll roll to the one
I'm closest to. Robin used a spider. It looked like the same kind she used to
kill Marilyn Weathers.
GEORGE: Hey, give me those coordinates, Coop. I'll duplicate it on the
computer, 'cause maybe it's a code.
COOP: Ok. Then get Bailey on the line.
GEORGE: Can't. He's M.I.A. So is Darla Turner. About an hour ago, the agent
on surveillance duty woke up with a dart in his neck.
COOP: What the hell is going on, George?
GEORGE: All hell is breaking loose, is what.
COOP: You ready?
GEORGE: Yeah, go.
COOP: Ok, 1325, what looks to be English Center Drive.
GEORGE: English Center
COOP: (continues reading) 2-1-2 ...
HARD CUT TO:
[INT. WAREHOUSE -- DAY]
(The camera does a slow turn of the warehouse.)
SAM: (o.s.) Somebody there?
(The camera continues to move slowly in an arc around the room.)
SAM: Is somebody there?
(We find SAM awake on the mattress.)
SAM: I can't see...
(Only a few yards away from SAM is a woman -- sitting on the floor, her hands
raised over her head and bound at her wrists. Her feet are tied at the ankles.
Her head is covered and by the sounds of it, she's gagged.)
(SAM hears her muffled screaming.)
SAM: I -- I can hear you. I -- I can't see.
(SAM holds out her hand trying to see who or what is in front of her.)
SAM: I ... I can't -- I can't see you.
(The woman continues to scream, muffled by the covering over her head.)
(SAM finds the shelf in front of her and uses it to stand up.)
SAM: Please don't stop talking to me. I can't -- I can't -- I can't see you.
I--I can hear you. Just ...
(SAM tries to walk toward the woman, but finds the cage with the spiders in it.
She screams and takes a step back, bumping into another metal shelf behind her.)
(JACK reaches out to finger the spider in the cage.)
JACK: (whispers) Samantha ... he's a nasty. (normal voice) Don't worry about
the spider bite. Dr. Trades has given you the antivenin.
(In front of her, SAM sees the dark figure looming in front of her.)
SAM: What have you done to my eyes?
(He takes a step in front of her, gets up to her face and scares her. SAM takes
another step back into the metal shelf.)
(JACK laughs quietly.)
SAM: What have you done to my eyes?
(He follows her as she blindly retreats.)
JACK: It's just a little home-brew washy wash.
(SAM feels around and her hand accidentally dips into the tank of scorpion fish.
She screams and takes another step off to the side away from the shelf.)
JACK: I tested it myself. Relax. It's not forever. Those big, beautiful baby
blues will be just fine.
(The dark figure in front of her looms closer. She turns and nearly walks into
the cage with an aggressive black spider in it.)
SAM: What -- what do want from me?
JACK: I just want you to appreciate me. I deserve your admiration, don't you
think?
SAM: My admiration? Is that why you killed all those people, because you
wanted my admiration?
JACK: It was necessary.
SAM: Uhh! Why me, huh? Why did you pick me?
JACK: Easy. Samantha, I knew from the first moment that I saw you.
SAM: You were just another case. You were just -- you were just my bad luck.
JACK: But are you absolutely certain? Nobody understands me the way that you
do, Samantha. Nobody.
SAM: Is that what you want? You want to be close to me? You want to be
closer? Well, then, why don't you take my hand, huh?
(She holds out her hand to him.)
SAM: Give me your hand! Give me your hand!
(JACK screams.)
JACK: Shut up!
(Behind them, the woman under the hood continues to scream.)
CUT TO:
[INT. CAR (MOVING) -- DAY]
(COOP is driving and talking into the radio.)
COOP: This is Agent Cooper. The first address was a phony. How are you doing,
Atlanta P.D.?
(A helicopter flies overhead.)
OFFICER: (from radio) We got five patrols out there, Coop, but all they get is
empty lots and burned out buildings.
(A line of police cars speed along the streets.)
INTERCUT WITH:
[INT. VCTF - COMMAND CENTER - DAY]
GEORGE: Ok, I've input the numbers from all the addresses. There's got to be a
way one of her formulas applies to them.
CHRISTINE LOGAN: Agent Cooper, this is Christine Logan. I'm at the Command
Center with George.
COOP: What do you got, Logan?
CHRISTINE LOGAN: Well, I've been studying Robin's chemistry journals. I got to
the last page. It's not her handwriting. It's a forgery.
GEORGE: Whose writing is it?
CHRISTINE LOGAN: I don't know. It's not a venom. It's the essential oil in
rose petals.
(GEORGE shuts his eyes tight as he realizes its significance.)
GEORGE: Jack.
COOP: He's got Sam! Why is he imitating Robin's M.O., George?
GEORGE: He's beating her at her own game. Which is why he left the map. Jack
wants us to find Sam. He's giving us a chance.
CUT TO:
[INT. JACK'S WAREHOUSE -- DAY]
(Various shots of different poisonous creatures - black scorpions, frogs and
snakes.)
(JACK walks around SAM.)
JACK: I hate the competition.
SAM: People will find me.
JACK: This may be difficult for you to understand, Samantha, but nobody is even
thinking of you right now except for little old me.
(She falls to the floor.)
SAM: Well, if you're not going to kill me, then what are you going to do with
me?
JACK: Nothing. I just want you to walk a mile in my shoes.
(A phone rings. A woman's frustrated muffled screaming is heard. JACK runs
over to the woman.)
JACK: I told you and told you and told you, Robin, to shut up!
(JACK picks up SAM'S purse and digs out her cell phone. Before he answers it,
he yells at ROBIN.)
JACK: Hey. Hey, don't make me hurt you!
(JACK answers the phone.)
JACK: Hi, hi.
INTERCUT WITH:
[INT. SAM'S PLACE - DAY]
ANGEL: Sam?
JACK: Angel. Oh, I'm sorry. She can't come to the phone right now. She's up
to her eyeballs.
ANGEL: Where's Sam?
(JACK laughs.)
ANGEL: What--what have you done with her? Where's Sam?
(JACK hangs up.)
(ANGEL immediately calls the VCTF.)
INTERCUT WITH:
[INT. VCTF - COMMAND CENTER - DAY]
(GEORGE answers the phone.)
GEORGE: Fraley.
ANGEL: George, it's Angel. I just called Sam on her cell phone and jack
answered, and he hung up on me. I know it was him.
GEORGE: Damn it! There's no way to trace it. Is Chloe ok?
ANGEL: Uh, yeah, she's--she's fine. She's here.
CUT TO:
[INT. HOSPITAL - OPERATING ROOM - DAY]
(BAILEY is in the operating room. JOHN looks in through the door from the
hallway.)
(JOHN picks up the phone and calls GEORGE.)
JOHN: He's still in the operating room.
INTERCUT WITH:
[INT. VCTF - COMMAND CENTER - DAY]
(GEORGE listens.)
JOHN: (from phone) I'll be honest with you, it doesn't look good. George, you
there?
GEORGE: Yeah. Yes, I'm here. Uh, any idea who the shooter was?
JOHN: Well ... looks like Frances with Bailey's own gun. I'm heading out to
look for her. Is Sam there?
GEORGE: Brace yourself. Jack's got her.
JOHN: Jack?
GEORGE: Well, it's ... we got a manhunt throughout the city. I don't know, I
thought maybe you would have heard the chatter.
JOHN: I -- I was off the air.
(GEORGE accesses JACK'S website and sees the photos of SAM.)
GEORGE: Wait a second. Wait, he's putting pictures of her on the internet.
Time-stamped like five minutes ago. She's alive.
JOHN: Where is she?
GEORGE: I don't know. I can't tell.
JOHN: I'm heading out to my car. As soon as -- as soon as you get a location,
I'm there.
(JOHN leaves.)
(GEORGE works on the internet site.)
JACK: (from computer) Stumped? Here's a hint: It's a puzzle, like the dice,
but it's a kid's puzzle, you morons.
CUT TO:
[EXT. -- DAY]
(COOP sits on the hood of his parked car at one of the sites. He's on the phone
with GEORGE.)
COOP: Ok, ok, ok, maybe the damn thing is a puzzle. Just give me a minute.
(COOP puts all the photo pieces together, sticking them to the wind shield.)
COOP: (mumbles to himself.) You'd send us a puzzle to play with? You'd do
that, wouldn't you? The gibberish in the back's going to make sense, right?
(COOP puts the pieces together and comes up with a photo of SAM, ANGEL and CHLOE
at home. He sits in the driver's seat and reads the numbers written on the back
of the photo.)
COOP: Ok...
GEORGE: (from phone) What is it?
COOP: 2 ... looks like a 3 ... 2 ... 3 ... 1 ... 7 ... 23 171st street, is that
a real address?
INTERCUT WITH:
(GEORGE types in his laptop checking the address.)
GEORGE: Checking. Uh ... yes. It's a loft downtown.
COOP: That's where she is. I'm gone.
GEORGE: Ok. I'll get you backup.
CUT TO:
(Police sirens wail. A red helicopter flies overhead.)
[INT. JACK'S LOFT -- DAY]
(SAM is sitting on the floor backing away from JACK. She encounters a metal
pipe and picks it up.)
(Outside, they hear the sounds of approaching sirens and cars.)
JACK: Company's here.
(On the first floor, the door is kicked in.)
(SAM continues to shuffle on the floor. She picks up the metal pipe.)
JACK: When we meet the next time, we'll both be on the same team. Until then
...
(SAM stands up and swings the metal pipe at the fuzzy figure in front of her.
She makes contact with the figure. The figure crashes into the wooden grating of
the loft elevator.)
COOP: (o.s.) Sam!
(The figure falls in the elevator shaft.)
(Down on the first floor COOP is in the building, his gun out.)
COOP: Sam?
(COOP heads up the stairs.)
(COOP kicks in the loft door.)
(ROBIN POOLE starts screaming through her taped mouth under the bag covering her
head. COOP rushes to her and removes the bag. He sees that it's ROBIN.)
SAM: Coop? Coop?
COOP: I'm here. Where are you?
SAM: I'm over here.
(Outside, LOU HANDLEMAN and JOHN exit their vehicles. A second police car also
stops in front of the building.)
(He rushes over to her and holds her.)
COOP: You ok?
SAM: Yeah. He put something in my eyes.
COOP: Thank god.
SAM: He put something in my eyes. I can't see.
(Outside, more officer cars arrive.)
OFFICER: Let's go! Move!
OFFICER: Go! Go!
(Inside, COOP holds on to SAM.)
COOP: Where is he?
(She turns toward the elevator shaft.)
SAM: He fell. I--I heard him-- I heard him fall.
(COOP peers down the shaft and sees the body down below.)
COOP: Ok. Ok. Everything's ok. Thank god.
(He gives her another hug.)
COOP: Look, let's get out of here. You want to --
(LOU HANDLEMAN turns the corner, his gun raised.)
LOU HANDLEMAN: Police! Freeze!
COOP: Hey, hey! I'm Nick Cooper. I'm with the V.C.T.F. Everything's under
control.
LOU HANDLEMAN: Lou Handleman, Atlanta Homicide. (He puts his gun down.) Dr.
Waters, you ok?
COOP: How'd homicide get the call?
LOU HANDLEMAN: I heard it on the radio the V.C.T.F. was in a tangle, I thought
I'd check it out.
SAM: It was Jack. He put -- he put some kind of chemical in my eyes, and he
blinded me.
LOU HANDLEMAN: Where is he now?
SAM: I hit him. He fell down the -
COOP: He's down this shaft. (COOP yells down to the OFFICER below with the
body.) What do you got down there, guys?
OFFICERS: It's a woman. She's had it.
SAM: No, no, it -- it was Jack. The woman, she's over there. I--I heard her.
(SAM points over to the two OFFICERS untying ROBIN POOLE.)
COOP: The woman against the wall's our prisoner. Could you please take her
into custody for us?
ROBIN POOLE: (struggles) Hey!
LOU HANDLEMAN: (slimy) Sure. We could start there.
OFFICER: Hey, Captain! This lady's I.D. Says she's Turner -- Darla Turner.
(Quick flash of: DARLA TURNER as she was when she was alive. Resume to
present.)
ROBIN: (b.g.) Ohh! Quit it!
(LOU HANDLEMAN walks over to the elevator shaft. SAM starts to get agitated
while COOP tries to calm her down.)
SAM: No. No. No, no, it--it-it was Jack. I -- don't touch me! I know what I
saw!
LOU HANDLEMAN: I thought you said you couldn't see.
SAM: I--I couldn't, but ... I--it's starting to wear off. I don't --
ROBIN POOLE: Don't you listen to her! I saw her push that lady down the
elevator!
COOP: Get her out of here! That's ridiculous. Sam, we got to get you
someplace and get you checked out.
SAM: No, I want--I want to talk to Bailey.
COOP: Bailey's out of the loop right now. I'll explain it to you in a minute.
LOU HANDLEMAN: Hold it here! I need some answers.
COOP: You'll get some answers! You relax! This is our case. We'll sort it
out.
(SAM covers her ears as she tries to think.)
POLICEMAN: Hey, captain! This lady's in handcuffs, F.B.I.-Issued cuffs.
LOU HANDLEMAN: You'll want to call a lawyer, Dr. Waters. I'm taking you in on
suspicion of murder.
COOP: Come on, Sam.
SAM: He said I'd walk a mile-
(Fade into: A close up of JACK'S mouth as he speaks.)
JACK: -- walk a mile in my shoes.
(JACK smiles.)
FADE OUT.
==========================
THE END
==========================
[Closed Captioning made possible by court tv. Captioned by the National
Captioning Institute www.Ncicap.Org]
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Contact the Transcriptionist at (intrepidly002@yahoo.com)
Please do not archive this transcript without permission from the
transcriptionist.
==========================
TITLE/OPENING CREDITS
==========================
PROFILER
1X22: VENOM (2)
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
COLETTE KILROY as Ellen Behar
DEBORAH STRANG
PHILLIP BRUCE
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: BOB LOWRY
Directed by: DAN LERNER
==========================
END CREDITS
==========================
Sanders/Moses Productions
NBC Studios
NBC Enterprises
Also starring
ED BRIGADIER as ICU Doctor
KAREN JAMES as Dr. Julie Steinmetz
CALLAN WHITE as Kendrick Lawton
with
GUS LYNCH as ER Doctor
GARY BALLARD as Marlin Fender
ELLIOT WOODS as Cop #1
BILL COHEN as Earthtones Guard
Story Editor: BOB LOWRY
Casting: ANTHONY BARNAO
Director of Photography: KEES VAN OOSTRUM
Production Designer: JONATHAN CARLSON
Edited by: BURT GLATSTEIN, A.C.E.
Main Title Theme: ANGELO BADALAMENTI
Music by: JEFF RONA
Unit Production Manager: ANTHONY SANTA CROCO
First Assistant Director: RICHARD FEURY
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
Stunt Coordinator: NOON 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 Accountant: 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: MONICA GILLETTE
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:06/07/2004~lky
http://www.webphilia.com/~anthology/wnp.html