PROFILER
1X15: SHADOW OF ANGELS (2)
(A.K.A. GESTALT)
ORIGINAL AIR DATE ON NBC: 02/15/1997
TRANSCRIBED FROM DVD
Written by: CHARLES D. HOLLAND
Directed by: KEVIN HOOKS
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: Believing that they've finally caught Jack, the team transports Dr.
Austin Keller back to the US. The "Coin Killers" strike again at a gambling
establishment and there, the female suspect is found dead. Through further
investigation, the team tracks down the children's father and must find the
children before they kill more people. Meanwhile, Sam realizes that the man
they have in custody isn't Jack.
==========================
PROFILER
1X15: SHADOW OF ANGELS (2)
(A.K.A. GESTALT)
==========================
FADE IN.
[Scenes from 1X14: Shadow of Angels (1)]
ANNOUNCER: Previously on Profiler ...
(Four people clothed in black drop bags of coins on SERGEI MARDIGIAN'S chest.
They spill coins out all over him.)
([STABLE STALLS] BAILEY and SAM walk into the stall to look at the body bound
to the wooden X on the floor.)
DAN RAMIREZ: (v.o.) I'm guessing there's ten thousand silver dollars. It has
to weigh more than a thousand pounds.
SAM: It's an unusually cruel way to die.
(SAM stands up. BAILEY shows her the champagne bottle on the side.)
BAILEY: Looks like they made a hell of a party out of it.
[EXT. BUILDING - DAY]
(COOP and SAM walk out onto the sidewalk.)
COOP: I heard you guys have Jack on the run.
SAM: Yeah, close but no cigar.
[INT. BUILDING]
(Flash of the coin killers putting the coins in the funnel taped to SENATOR
VANDERHORN'S mouth.)
NATHAN: (v.o.) Federal agents. Don't move.
(The door bursts open. The COIN KILLERS look up and see NATHAN and JOHN.)
(Cut to: There's a shootout between the KILLERS and JOHN and NATHAN.)
NATHAN: We walked right into it.
BAILEY: Four shooters, one was a woman.
[INT. VCTF - HALLWAY]
(SAM and COOP stand in the hallway.)
SAM: Why don't you come to my place? You can meet Chloe.
[INT. SAM'S PLACE - NIGHT]
(COOP leans in to kiss SAM, but they're interrupted.)
CHLOE: (v.o.) Mom, Coop, I'm ready for my story!
[INT. BAR - BACKROOM - DAY]
(A gloved hand turns the dead woman's face toward SAM.)
SAM: (v.o.) She's one of the killers. It's always been three men and a woman.
[INT. VCTF - COMMAND CENTER]
BAILEY: We've got three subjects from a group of four who are believed to be the
children of Charles Vanderhorn.
(On the monitor, they see the video from the surveillance camera they set up in
CHARLES VANDERHORN'S office.)
GEORGE: (v.o.) And judging from the dead female, they're about 22-years-old.
(On the monitor is the photo of the dead female killer.)
(GEORGE settles in his chair and puts the video up on the monitor. They see
CHARLES VANDEHORN on the phone standing behind his desk.)
GEORGE: Take a look at the latest surveillance video from Vanderhorn's office.
SAM: He's getting very frustrated.
GEORGE: Vanderhorn subsequently hopped into a waiting car and lost our tail.
(Cut to: The computer beeps much to GEORGE'S delight.)
GEORGE: Yes!
SAM: What?
GEORGE: I'm patching in surveillance photos from Sobrejo, Costa Rica. Austin
Keller, aka Jack, is in this compound.
(The photos of the compound go up on the monitor.)
(BAILEY stands up and grabs his jacket.)
BAILEY: Let's get the jet prepped and ready in an hour.
HARD CUT TO
END OF TEASER
ROLL TITLE CREDITS
FADE IN.
[EXT. JUNGLES - DAY]
LEGEND:
SOBREJO, COSTA RICA
(A helicopter flies low overhead.)
[EXT. SOBREJO, COSTA RICA - COMPOUND -- DAY]
(The helicopter lands. Armed agents in khaki followed by the VCTF agents
including BAILEY, JOHN, SAM and COOP work their way to the compound.)
(In the background other agents follow along the hill.)
(They sneak up and hide behind some bushes. SAM looks at the village compound
in front of her.)
(Quick flashes of: [Scene from 1X13: The House that Jack Built] JACK at the
ST. ANGELES ORPHANAGE, down in the basement, turning the acid tanks on. End of
flashes. Resume to present.)
SAM: He probably knows he's under surveillance. We should expect an ambush.
BAILEY: (to radio) This is Malone. I want C.S. Followed by 3-second rushes to
the structure. Then, on my mark, cut power and hard entry per S.O.P. Any
questions? (beat) Good luck.
(The AGENTS rush forward from all sides of the village. Each group takes a
different structure and they wait for the signal.)
BAILEY: (to radio) Watch your targets, check every damn corner, and heads up
for booby traps.
(Together, each group leader pulls the pin from the smoke bomb. BAILEY gives
the signal.)
BAILEY: (to radio) Go.
(They each throw the canister into the structure. It explodes.)
(One by one, they rush into the structure.)
AGENT: Go! Go! Go! Go!
AGENT: Come on! Move it!
AGENT: Move it! Move it!
AGENT: Go in! Go in!
AGENT: Clear that entrance.
(Soon, all the structures are checked.)
COOP: (to radio) This is Coop. I'm clear.
JOHN: (to radio) Bailey, John. It's clear. Nobody's home.
BAILEY: Hold positions. We're moving in.
[INT. STRUCTURE]
(Inside, there's a complete computer network running.)
SAM: Didn't our surveillance team confirm he was inside?
BAILEY: Calm down, Sam.
SAM: Calm down.
BAILEY: He could access anything. Phones. Satellite feeds. Computers ...
SAM: Monitors.
(Quick flash series of clips of JACK watching over the monitors. End of flash.
Resume to present.)
SAM: Oh, well, Jack does like to watch, doesn't he?
(JOHN picks up a plate with half-eaten food on it.)
JOHN: He was here. He left in a hurry.
SAM: (insistent) He's still here.
BAILEY: Sam -
SAM: No. We were watching, Bailey. (thinking) Jack uses tunnels.
(Outside, they hear moment. BAILEY sees someone running.)
BAILEY: (to radio) He just hit the wood line on foot, one o'clock. Widen the
target search. Cut him off.
(BAILEY and JOHN run out of the structure.)
(Cut to: The person runs outside. He looks over his shoulder as if wanting
them to chase him. He reaches the clearing and continues to run.)
(In the back, JOHN and BAILEY take off after him.)
(The chase is on. The other agents surround the Running Man.)
(In the clearing just past the trees, COOP and JOHN meet up. JOHN signals to
COOP and they each head in a different direction.)
(The man continues to run. Suddenly, he clears the trees and stops.)
(We hear a gun cock.)
(In front of him, SAM has her gun on the Running Man.)
(She stares at him and all the photos of the victims JACK'S killed flashes
before her. So many dead bodies and images of crime scenes flash before her
eyes. In between are her memories of finding her husband Tom dead.)
(SAM fires. Over and over and over again hitting him point blank in the chest.)
(Resume to present.)
(The MAN smiles at SAM.)
JOHN: (o.s.) I got him!
(Behind the MAN, JOHN appears. He puts his hand on the MAN'S shoulder.)
JOHN: I got him. Down on the ground.
(SAM whimpers as she holds the gun out in front of her. BAILEY appears behind
her.)
JOHN: Get on the ground.
(She turns around and sees BAILEY standing there.
JOHN: Give me your arms. Both arms.
(She puts her gun down. JOHN handcuffs the MAN. He looks up at SAM. She turns
and leaves the scene pushing past BAILEY and back into the brush.)
CUT TO:
[EXT. HOTEL - NIGHT]
LEGEND:
SOBREJO HOTEL
COSTA RICA
(Lighting flashes and thunder rumbles in the distance.)
[INT. SOBREJO HOTEL - SAM'S ROOM - NIGHT]
(SAM sits in her robe on the chair. COOP pours SAM a drink and gives it to her
while settling on the seat next to her. He puts his arm around her.)
SAM: They have any idea when we're going to be able to fly out of here?
COOP: They're going to try to get us out later tonight. That's what I heard.
(He looks at her.) You all right?
SAM: A couple of hours ago ... I actually considered killing a man. I could
see myself doing it. It was so easy. As if it didn't matter.
COOP: Well, you know, if someone had taken from me what that man took from you,
I'd want to kill him, too. Meanwhile, you keep working at this amazing level.
You're raising your daughter. She can still smile after what she lost. That's
'cause of you, you know?
(A tear falls down SAM'S cheek.)
COOP: Only you.
(SAM sniffles, turns and hangs on to COOP.)
CUT TO:
[INT. SAM'S PLACE]
(CHLOE and ANGEL are painting a chair.)
ANGEL: Ok ... now follow the grain. Mm-hmm ... and smooth ...
CHLOE: Like that?
ANGEL: Perfect. Then slow it down a little bit ... there you go. There you go.
(The door opens. CHLOE turns and sees who it is. She runs to meet her.)
CHLOE: Mommy!
SAM: Hey, sweetie. How are you?
(She kisses and hugs CHLOE.)
CHLOE: Mom, I missed you.
SAM: Oh, I missed you, too.
(SAM picks CHLOE up and heads into the living room where ANGEL is.)
SAM: How've you been, huh?
CHLOE: Good. Ha ha!
SAM: How did you do in your spelling bee?
CHLOE: I won.
SAM: You did?
CHLOE: Yeah. You want to see my ribbon?
SAM: Yes, I most certainly do.
CHLOE: I'll go get it.
(She puts CHLOE down and CHLOE runs out of the room.
ANGEL: She could not wait to tell you that.
SAM: Angel?
ANGEL: Hmm?
SAM: We got him. We got Jack.
ANGEL: Oh, jeez.
(ANGEL hugs SAM.)
SAM: Oh, my -- I don't know if I'm ever going to be able to thank you. When he
killed Tom, you took care of Chloe and me. I don't know if I could ever find a
better friend.
CUT TO:
[INT. CHURCH - NIGHT]
(BAILEY walks into the church. He slips into the confessional.)
[CONFESSIONAL]
(He slides open the confessional door.)
BAILEY: Bless me, father, for I have sinned.
(CASPER slides open his confessional door.)
CASPER: That's not your biggest worry if you don't have my Cubans.
(BAILEY hands him the cigar.)
BAILEY: Punch-punch.
CASPER: Nice. Ramona yoni.
(He hands BAILEY a cigar.)
BAILEY: We could've met somewhere else. You might want to be struck by
lightning, but I don't.
CASPER: Then I suggest you lay off Charles Vanderhorn.
BAILEY: Is he protected by the agency?
CASPER: Let's put it this way: He knows his way around Langley.
BAILEY: Is this some kind of Watergate thing?
CASPER: Old buddy, nobody knows what this is, and the great majority don't want
to know.
BAILEY: Why not, because Vanderhorn golfs with presidents?
CASPER: And he handpicks congressmen and federal judges, and a lot of people
are allergic to unemployment. I mean, where does the 900-pound gorilla sit?
BAILEY: Anywhere he wants. So tell me, are these coin killers ... spooks?
CASPER: They are using channels normally used in covert intelligence
operations, but -- and hear this: No nation, no terrorist group, or organized
crime faction on this planet ever uses operatives with no identity at all. It's
too dangerous, too hard to find them if they go rogue. Now, these guys, on the
other hand, are something else. They're something scary.
BAILEY: I'm in it now.
CASPER: Yes, you are, and you're in it very deeply, so I'll tell you what. For
old times' sake, how about if I spring a leak here, a little whisper there, toss
it out to a special prosecutor? No harm, no foul.
BAILEY: Can't do it. People'll get killed while a political football's getting
tossed back and forth.
CASPER: How did I know that you'd be a knucklehead? I just must've known that,
so I brought you something.
(He holds out a diskette.)
BAILEY: What's this?
CASPER: A labyrinth built by Dean Hamilton, esquire.
BAILEY: Thanks.
CASPER: God bless, my friend. You're going to need it.
(He slides the confessional door close.)
CUT TO:
[INT. VCTF - BULLPEN TO COMMAND CENTER]
(NATHAN reports back to BAILEY.)
NATHAN: The after-action reports are on your desk, and I sent three agents to
Washington. They interviewed Vanderhorn's senior staff. No help.
BAILEY: Tripped over some last night. George.
(He hands the diskette to GEORGE.)
(A list of names appear on screen. They read:
BAILEY: These people were paid through even more serpentine channels than
Mardigian, courtesy of Vanderhorn's personal counsel -- Dean Hamilton.
GEORGE: Oh, yeah, I hit pay dirt on that phone trace. That was Dean Hamilton
on the phone with Vanderhorn that day.
SAM: So we have an olympic archery champion, a nobel prize-winning
mathematician, and a renowned obstetrician. This looks like a who's who of
overachievers from around the world.
BAILEY: All in Vanderhorn's pocket. These payments go back twenty years.
COOP: I don't see anybody who's mobbed up or part of any known terrorist cell.
SAM: There's no politicians, no community leaders. He isn't buying influence.
He's buying skill.
COOP: This is very deep hide-the-ball stuff. Some of these companies are CIA
fronts. Where'd you get this, Bailey?
BAILEY: I could tell you, but then I'd have to kill you.
(The group laughs. COOP smiles.)
SAM: Any particular order in the list of payments?
GEORGE: Yeah, it's date of disbursement. The first one is to the obstetrician
Raymond Scarborough, deceased -
SAM: Then four women, then ... immediately followed by Sergei Mardigian, the
tutor. Do we know where these women are now?
GEORGE: Well, let's see.
(GRACE makes her announcement as she walks into the room. She takes a seat at
the table.)
GRACE: I've completed stage one of the forensic examinations for the Jack-of-
all-Trades case.
BAILEY: Well, what's the short version?
GRACE: The man you arrested in Costa Rica is in fact Austin Keller. Is he the
Jack of all Trades? I don't know. We did a quick-and-dirty DNA comparison of
Keller's hair and hair from Jack's Atlanta place. So far, it's inconclusive.
SAM: Ok, Grace. So what is the bottom line?
GRACE: All we can say right now is that Keller is blood type "O" negative,
which is relatively rare, and we know that Jack is, too.
BAILEY: Have quantico put a rush on it. We're growing old here, Georgie.
GEORGE: It's not easy being me.
JOHN: Greetings from the middle of Costa Rica's rainy season, where I did a
truckload of very soggy interviews. Unfortunately, Keller is an accomplished
pilot. The area is so isolated, it's impossible to establish exactly when
Keller was and was not in Costa Rica.
(Series of quick flashes of JACK hijacking the jet. End of flashes. Resume to
present.)
SAM: Wait. If he can fly a plane, why did he kidnap and kill that pilot? I
mean, why didn't he just take the plane?
(SAM looks at COOP.)
BAILEY: Maybe that's the sick bastard's idea of carpooling.
CUT TO:
[INT. VCTF - HALLWAY TO BAILEY'S OFFICE]
(SAM and NATHAN walk back to BAILEY'S office. NATHAN opens the door to let SAM
into the office. BAILEY gets to his feet and introduces the man standing in
front of his desk.)
BAILEY: Sam, this is Peter Koslowski from the U.S. Attorney's office. He's
heading the prosecution team on Austin Keller.
PETER KOSLOWSKI: It's a pleasure, Sam.
SAM: Nice to meet you.
BAILEY: Nathan's the legal expert here.
PETER KOSLOWSKI: Nathan.
NATHAN: Nice meeting you.
PETER KOSLOWSKI: I don't mind telling you the case is already giving me fits.
Keller both waived rights and decided to represent himself.
NATHAN: The judge will tend to cut him some slack.
PETER KOSLOWSKI: The last thing I need is him walking on some technicality,
like inadequate counsel.
SAM: He'll probably perform like a pro. Uh, when is the arraignment?
PETER KOSLOWSKI: Seventy-two hours. It's under control.
NATHAN: The judge will want a psychological evaluation.
SAM: I can recommend someone.
PETER KOSLOWSKI: I can't take your recommendation. It could taint my case.
BAILEY: Peter, Sam wrote the book on Jack.
NATHAN: There's even precedent on her involvement as a victim. I could memo
your file with case citations.
SAM: It's ok. I understand. Listen, if I can't be involved in the case, then
that means that I can see him, right?
(PETER turns to look back at BAILEY. Everyone waits for his decision.)
PETER KOSLOWSKI: We turned the archive vault in the basement into a special
confinement facility. You want to see him, I'll put your name on the list.
SAM: Thank you.
CUT TO:
[INT. ARCHIVE VAULT/SPECIAL CONFINEMENT FACILITY - MORNING]
(SAM walks into the building and is met up by the SECURITY GUARD.)
SECURITY GUARD: Good morning, Dr. Waters.
SAM: Good morning.
SECURITY GUARD: I have orders to brief you on the holding and care of special
inmate Austin Keller. Right this way, ma'am.
(They walk out of camera frame as he leads her into the secured area.)
SECURITY GUARD: His holding cell is a premium-grade stoneguard bank vault.
This vault has been specially outfitted with ventilation and surveillance
applications.
(As SAM listens, she sees AUSTIN KELLER on the bed, his arms crossed on his
chest as he sleeps. She has several flashes of: JACK'S workstation. He
lightly runs his thumb over the knife blade. He uncaps the syringe. He turns
the gun over. Flash of the red roses on her bed. End of flash. Resume to
present.)
SAM: So basically, a camera catches everything he does. There's a twenty-four
hour guard. He breathes.
SECURITY GUARD: That's about the size of it. If you don't mind me saying,
ma'am, I've never seen anybody sleep in that there position. I ain't no doctor,
but this boy's bubble does not float to the top.
SAM: Well, I've never seen anything like him, either. And I pray I never do
again.
FADE OUT.
FADE IN.
[INT. VCTF - HALLWAY THROUGH BULLPEN]
(SAM and BAILEY walk through the bullpen toward the COMMAND CENTER.)
SAM: The coin killer's former activity was so much faster. His current
inactivity is beginning to worry me. It's bound to be followed by a big move.
George.
(They both sit down.)
GEORGE: I got those 4 women. They're aged 40 to 44. Three are still foreign
nationals, but one of them lives in San Antonio, Texas: Sarah Dietrich. She
was a tennis player twenty years ago.
(On the monitor, GEORGE has the list of the four women up:
ELAINE VAN DYKE
Chemist
Amsterdam, Neatherlands
SARAH DIETRICH
Tennis Player
San Antonio, Texas
STACEY O'HANLON
Poet
Belfast, Ireland
ERICA MENZIES
Opera Singer
Berlin, Germany )
GEORGE: This is the picture from her driver's license.
(He puts up a photo of SARAH DIETRICH on the monitor.)
SAM: George, you want to put up Vanderhorn's picture?
(The monitor splits and a photo of CHARLES VANDERHORN is placed to the left of
the photo.)
GEORGE: George, superimpose Vanderhorn and Dietrich. Now morph into a new
female.
(The photos are placed one on top of the other and a computer program runs where
it grids the photo and combines the two features. A third photo is extracted.
GEORGE: Then reverse age twenty-two years.
(GEORGE works on it and comes up with a photo of the young woman in the morgue.
He brings up the photo of the female in the morgue.)
SAM: That's her mother.
CUT TO:
[EXT. TENNIS COURTS - DAY]
LEGEND:
SAN ANTONIO, TEXAS
(SARAH DIETRICH walks off the courts and heads toward SAM and BAILEY.)
BAILEY: Miss Dietrich, I'm Bailey Malone. This is Sam Waters.
(They shake hands.)
SARAH DIETRICH: I only have a minute.
SAM: I see. All right, then. Have you ever been to a Dr. Scarborough?
SARAH DIETRICH: No.
BAILEY: This would've been around 20 years ago.
(She shakes her head.)
BAILEY: Are you sure?
SARAH DIETRICH: Yes.
SAM: Well, then perhaps we've made a mistake. We...thought that this might be
your daughter.
(SAM shows SARAH DIETRICH a photo of the female in the morgue. She looks at the
photo and lightly brushes her fingers along the paper. She looks at them.)
BAILEY: She was killed. Shot.
(She sits down.)
SARAH DIETRICH: They told me ... they promised me that she'd have a better
life.
BAILEY: Who were they, Mrs. Dietrich?
SARAH DIETRICH: The doctor and the lawyer who gave me the papers to sign.
BAILEY: Was the lawyer's name Dean Hamilton?
SARAH DIETRICH: I think so. Shot?
SAM: Yes. Can you tell us anything about the father?
SARAH DIETRICH: I never even met him. I was artificially inseminated. The
baby was taken as soon as she was born.
SAM: And you haven't seen or talked to her since?
SARAH DIETRICH: I wanted to. But I was young. I was poor. I was ambitious.
BAILEY: You have any other children for them?
(She shakes her head.)
SAM: I'm very sorry.
BAILEY: Thank you.
(They leave.)
CUT TO:
[INT. VCTF - BAILEY'S OFFICE]
(BAILEY and the rest of the team interview DEAN HAMILTON.)
DEAN HAMILTON: Certainly you realize I'm bound by attorney-client privilege.
NATHAN: Mr. Hamilton, I used to practice law. In fact, I'm still licensed.
And that license makes me an officer of the courts sworn to represent my clients
without breaking the law.
BAILEY: This shell game you played for Charles Vanderhorn looks a lot like
racketeering. Now, we've spoken with with Sarah Dietrich. I see fraud and
violation of the Mann Act. That's enough to strap on Rico.
NATHAN: The racketeering influences and corrupt organizations statute applies
to lawyers, too.
SAM: Mr. Hamilton, we know that you want these killings to end.
BAILEY: The prospect of criminal prosecution provides you with a loophole for
your privilege.
DEAN HAMILTON: I don't know where Charles is. He goes his own way. I don't
know where the children are, either, but ... I'll tell you everything I do know.
CUT TO:
[COMMAND CENTER - LATER]
(DEAN HAMILTON stands in front of the monitor. On the monitor are the photos of
the four women and of the four children.)
DEAN HAMILTON: That's it. Charles' mothers of the future. Each selected for
excellence in her chosen endeavor. All foreign nationals. From left to right:
Elaine Van Dyke, a chemist. Her son is Michael, the oldest. Erica Menzies,
Opera Singer, Mother of Gabriel. You know Sarah Dietrich, Uriel's mother.
Stacey O'Hanlon was a poet. Mother of Raphael.
(He takes a seat.)
(SAM has flashes of the children playing games with each other. End of flashes.
Resume to present.)
SAM: The names ... archangels.
NATHAN: Why don't you know where they are?
DEAN HAMILTON: Charles compartmentalized information on a need-to-know basis.
I created a trust when they were born for when their education was completed.
It matured, and I deposited the proceeds, $40 million, into a numbered account
in the cayman islands. The trust also includes powers of attorney to control
key holding companies in the vanderhorn empire. These were placed in a safe
deposit box in Jacksonville, Florida. The money was withdrawn and the safe
deposit box emptied. And that is ... all I know.
SAM: Where did the children grow up?
DEAN HAMILTON: Only Charles knows. The instructors were flown in to the kids
blindfolded.
(Quick flash of the CHARLES VANDERHORN in his office, the children playing
intercut with the photo of the children as adults. End of flashes. Resume to
present.)
SAM: That's where Vanderhorn is. Where his children grew up.
CUT TO:
[INT. VCTF - HALLWAY TO SAM'S OFFICE]
(GEORGE walks to SAM'S office door, a thick file folder tucked under his arm.
He knocks lightly, then opens it to enter.)
SAM: Yeah?
GEORGE: I am damn good ... or damn lucky. Here. The saga of Vanderhorn
Enterprises in all of its glory. No environmental screwups, no labor fights,
not a glimmer that Vanderhorn ever gave bribes.
SAM: What about his personal life?
GEORGE: He doesn't have one. No wives, no girlfriends since Sonny's mother
O.D.'d. Compared to the rest of the family, Charles Vanderhorn's a saint.
SAM: Not to them. Thirty-nine pages of failed businesses by members of his
own family.
GEORGE: Millions to charity, not a dime for his family.
SAM: Maybe he doesn't think they're worth it.
(GRACE opens the office door and sees SAM inside.)
GRACE: Great. You're still here. I thought you might want to take a look at
this.
SAM: What is it?
(GRACE hands SAM two voice prints.)
GRACE: The one on the left is a recording of Jack's calls to us in the past.
On the right is Keller over the last few days.
GEORGE: They're different.
GRACE: Yeah. Well ... voiceprints are never as solid as fingerprints. However,
the computer gives us 72% confidence that it's a match.
SAM: Great. Um ... thanks, Grace.
(She hands the voice prints back to GRACE.)
CUT TO:
[INT. VAULT]
(The vault door opens and the SECURITY GUARD unlocks the bars. He opens the
gate and SAM walks in.)
(In his cell, AUSTIN KELLER sits on his bed.)
(The SECURITY GUARD unlocks the cell door.)
AUSTIN KELLER: Finally. Samantha.
(Quick flash of: SAM holds her gun on AUSTIN KELLER and fires. End of flash.
Resume to present.)
(The doors slide open.)
(KELLER sits up eagerly on the edge of his bed and holds his wrists out to be
cuffed.)
AUSTIN KELLER: Shall we?
(The SECURITY GUARD clamps on the handcuffs.)
(Later, the vault door closes leaving SAM in the vault with AUSTIN KELLER.)
(SAM walks into the cell.)
FADE OUT.
FADE IN.
[INT. THE VAULT]
(SAM interviews AUSTIN KELLER.)
SAM: Would it bother you if I told you that you're nothing at all like what I
had expected?
AUSTIN KELLER: No, but it bothers you, doesn't it? You need me to justify your
hate.
(Quick flashes of the first victim. End of flashes. Resume to present.)
SAM: Is that what happened with Janice Fletcher? She was your first victim,
wasn't she?
AUSTIN KELLER: Was she? You tell me.
SAM: Do you remember what she looked like?
(AUSTIN KELLER starts to tap his finger tip against the table.)
SAM: What her last words were?
AUSTIN KELLER: I do fascinate you, don't I, dear Samantha? Is there any other
victim that interests you?
SAM: You don't want to talk about Janice Fletcher? Why is that?
(He doesn't say anything. He wraps his hands around each other.)
(Quick flashes of the victim with her face covered. End of flashback. Resume
to present.)
SAM: Is that why you covered Maude Martin's face? You felt bad about killing
her?
AUSTIN KELLER: Why don't you ask me what you really want to know?
SAM: And what is that?
AUSTIN KELLER: Yes, Samantha, there is a Santa Claus. I'm the man who killed
your husband -- the Jack of all Trades himself. The Jack of all Trades. The
jack of all trades himself.
(He smiles.)
(Camera holds on SAM.)
CUT TO:
[INT. VCTF - BAILEY'S OFFICE]
(GEORGE fills BAILEY in.)
GEORGE: We're doing our best to follow this latest money trail--like we did with
Mardigian -- but so far, we got nothing.
NATHAN: And that's all we're going to get. The coin killers are controlling
core companies in the Vanderhorn empire that could swallow ten times the amount
of money we're looking for without belching.
(JOHN rushes into the office.)
JOHN: Hey, guys, coin killers found a new toy. There's been a bombing in
Orlando.
(BAILEY takes the cigar out of his mouth.)
CUT TO:
[EXT. ORLANDO - DAY]
LEGEND:
ORLANDO, FLORIDA
(FireFighters use hoses. The area is blocked off, but still a crowd of on-
lookers gather. NATHAN questions the local authorities. COOP walks up to the
damaged car and looks down at it.)
(JOHN reports his findings as he, BAILEY and SAM walk toward the damaged car.)
JOHN: Eleven dead. Twenty-eight went to the hospital, critical but stable.
BAILEY: Give us a rundown.
JOHN: Tickets went on sale for a rock concert. Group's called Hot Dreams.
Some kind of scandalous performance. People lined up for blocks.
SAM: They wanted witnesses.
JOHN: They drove up here, parked a car illegally. Three white males got out
and went and stood over at the curb over there and waited. After the explosion,
they walked away calmly. ATF bomb squad found silver dollars in the shrapnel.
(COOP looks a the back of the car.)
COOP: It was a pipe bomb ... in the backseat.
(Quick flash of the line of ticket-goers. Flash to the damaged car. Cut to the
explosion. End of flashes. Resume to present.)
(BAILEY'S phone rings. He answers it.)
MALONE: Malone.
JOHN: Why a bomb?
SAM: I don't know, but it has the same signature as the killings of Mardigian,
Fitzgerald, and Sonny Vanderhorn. There's got to be a connection to Charles
somewhere.
NATHAN: Guess who owns the concert hall.
SAM: Charles Vanderhorn. Before, the killers were purging the Vanderhorn
family of its members who misuse money. Now they're purging the Vanderhorn
family assets.
BAILEY: Sam, I want you to go over everything from the beginning with John and
Nathan. We need to anticipate the next hit. Coop?
COOP: Yeah.
BAILEY: Let's find out where that bomb was made.
COOP: I'm already on it.
CUT TO:
[EXT. VCTF BUILDING - DAY]
[INT. BAILEY'S OFFICE - DAY]
(COOP walks up to the door and peers inside. BAILEY'S sitting behind his desk
working on paperwork.)
COOP: Hey.
(BAILEY looks up. COOP walks into the office. BAILEY continues writing.)
COOP: You know, they tried to get me to do this paperwork torture about twice a
year, I just blew them off. So, uh, what's the deal.
BAILEY: Tell me about that bomb.
COOP: Well, it was definitely intended to be antipersonnel. It was low blast,
low velocity, long on shrapnel.
BAILEY: Can you trace where it was made?
COOP: Not in this lifetime.
BAILEY: Ok. Thanks.
COOP: You bet.
(COOP turns to leave, but stops.)
COOP: You know, Bailey, I, uh -- I'd love to tell you something right now that
you want to hear, but I'm supposed to do my job, right? I'm paid to call them
like I see them, and that's what I did, right?
BAILEY: No one's questioning your professionalism, Coop. It's the attitude we
could do without.
COOP: The attitude you could do without.
BAILEY: I just don't want you disrupting the team.
COOP: You don't want me hurting Sam.
BAILEY: That's right.
COOP: Yeah. Well, you can put your mind to rest. On both counts.
(COOP turns and walks out of the office.)
CUT TO:
[INT. VCTF - COMMAND CENTER]
(SAM and JOHN walk into the office.)
SAM: Maybe we're still missing the connection between the Bourbon Street
killings and Vanderhorn.
JOHN: George, are you sure that bar isn't owned in some roundabout kind of way
by Vanderhorn?
GEORGE: Well, I got a veil-piercing program in here based on the payment
structures we discovered, and that bar is owned by a sole proprietor, and his
bank has no apparent connection to Vanderhorn.
NATHAN: Without a financial connection between the Vanderhorns and the victims,
we're looking at a whole different signature from the other killings.
SAM: The coin killers have been raised without any of the things that
differentiate us as people. I think that we're dealing with four people who are
so alike psychologically that they're not distinct. They're not individual.
But parts of one whole. An entity.
(Quick flashback to: The bar on bourbon street. They walk into the back room.
A gun fires. URIEL falls to the floor. They put their guns away. End of
flashback. Resume to present.)
SAM: When the entity lost a piece of itself, it was in great pain. It saw
people partying, having a good time ...
NATHAN: And lashed out.
SAM: The bombing was in Orlando, right? Is that between New Orleans and
someplace they were headed?
GEORGE: Hang on. Put my trusty veil-piercing program on titles to Florida real
estate.
JOHN: (jibing) We better order lunch, huh?
GEORGE: Yeah, hey, does somebody want to, uh, get the "kick me" sign off my
back, please?
(They smile.)
GEORGE: Whoa. Bingo. Private island off the Coast of Florida -- Leto Keys.
That's owned by a company that's owned by a company that Vanderhorn Enterprises
controls.
SAM: There you go.
CUT TO:
[EXT. LETO KEYS - ESTATE - DAY]
(A helicopter, N87WC, flies above and lowers preparing to land. It approaches
the house and lands on the lawn.)
(On the ground, a jeep full of AGENTS approaches the house.)
(JOHN gets out of the helicopter and immediately motions to the AGENTS in the
jeep.
JOHN: Go! Go, go, go, go!
(COOP exits the helicopter.)
(The AGENTS run across the lawn and head for the house.)
(BAILEY helps SAM out of the helicopter. They all head toward the building.)
[INT. RESIDENCE - DAY]
(NATHAN and a handful of AGENTS enter the house. CHARLES VANDERHORN walks
toward them, surprised by the intrusion.)
CHARLES VANDERHORN: What is this? What the hell is this?
(He sees COOP, BAILEY and SAM.)
CHARLES VANDERHORN: This is private property. Unless you can show me a
warrant, you're going to have to get off this island.
(BAILEY hands the warrant to CHARLES VANDERHORN. He looks at the warrant, then
closes it.)
CHARLES VANDERHORN: Whatever you want from me, speak to my attorney.
(He hands the warrant back to BAILEY.)
SAM: That's how we got the names Michael, Uriel, Raphael, and Gabriel. Mr.
Hamilton has been loyal to you for thirty years, sir. Even he knows that this
has to end.
CHARLES VANDERHORN: Yeah.
(He sighs, turns and motions for them to follow.)
CHARLES VANDERHORN: I can't expect you to understand. We were going about the
future in entirely the wrong way.
BAILEY: So exactly what truth are we missing?
SAM: That it takes people who never were for the perfect world to ever be.
CHARLES VANDERHORN: I had to deny myself. See my perfect children ... on
weekly videotapes. Keep them away from corruption and vice, so that they might
... know perfection ... and show us all the way.
BAILEY: Were they taught money is the tool to achieve perfection?
CHARLES VANDERHORN: No. They were taught that money ... is the organizing
instrument of mankind ... that those that wield it have power, and with that
power ... comes responsibility. Noblesse oblige.
COOP: Or more to the point, the right to enforce your will.
CHARLES VANDERHORN: My children were never taught violence. Never. They were
taught to revere life.
(JOHN and NATHAN walk into the room.)
JOHN: House is clear.
NATHAN: Grounds, too.
SAM: Mr. Vanderhorn ... your children were raised devoid of any mothering or
nurturing or any normal human contact. They were taught to worship efficiency,
to vilify the unenlightened. Now you tell me -- what is the most efficient and
effective way to get rid of someone you don't approve of?
CHARLES VANDERHORN: Kill them.
FADE OUT.
FADE IN.
[EXT. VCTF BUILDING - NIGHT]
[INT. VCTF - COMMAND CENTER -- NIGHT]
(The team sits with CHARLES VANDERHORN in the command center.)
SAM: You're probably right in thinking that they've headed to the island. The
problem is, they may be able to stop along the way.
GEORGE: They have a private jet, but even with a coded transponder signal, I
could trace the jet through the national security agency if I have the call
name.
CHARLES VANDERHORN: Well, I--I don't have the vaguest idea what it could be.
COOP: What about something from the videotapes? A favorite story, a game they
played?
(Quick flashes of the children playing games with themselves, the photos of the
children as adults and of the drawing of the ships in VANDERHORN'S office. End
of flash. Resume to present.)
SAM: Mr. Vanderhorn ... that picture of the sailboat in your office -- they
made that, didn't they?
CHARLES VANDERHORN: Yes.
SAM: George, can you -
(GEORGE puts the drawing up on the monitor and enlarges it.)
SAM: That isn't art on the sails, is it? That's ideoglasia.
COOP: What's that?
SAM: It's a made-up language. You see it a lot amongst children who have been
raised in isolation.
CHARLES VANDERHORN: I can, uh ... translate it for you if you'd like.
SAM: Yeah, please.
(As he speaks, GEORGE shows the symbols on the screen one by one.)
CHARLES VANDERHORN: "Yes, we strive so that this morsel of hope shall not
perish from the earth."
SAM: How's it signed?
CHARLES VANDERHORN: "Corpus ... Vanderhorn."
CUT TO:
[EXT. TELEVISION STATION - NIGHT]
LEGEND:
WFKK TELEVISION
MIAMI, FLORIDA
[INT. WFKK STATION - NIGHT]
(The children break into the station office as the programs are running on air.
They sneak up behind the program manager and pull him out of his seat.)
Aah!
CUT TO:
[INT. VCTF - HALLWAY - NIGHT]
(GEORGE heads for BAILEY'S office. He knocks on the window to get BAILEY and
SAM'S attention. He walks into the office.)
GEORGE: The jet landed in miami. Vanderhorn owns a tv production studio and a
construction company there.
SAM: What's the tv studio do?
GEORGE: Infomercials.
SAM: Unprincipled commercialism. They'll shut them down and kill as many
people as they can.
BAILEY: Let's go.
(They head out of the office.)
CUT TO:
[EXT. NIGHT]
(A helicopter lands just outside the station. OFFICER cars are there.)
[INT. STATION - HALLWAY - NIGHT]
(BAILEY, JOHN, SAM and CHARLES VANDERHORN walk into the station.)
BAILEY: Sit rep.
JOHN: Screwed. Two suspects believed dead in the tv studio.
CHARLES VANDERHORN: Oh, god.
JOHN: Miami P.D. can't get to the bodies because the last suspect has high
ground in the studio's master control.
BAILEY: Is the O.I.C. with the program?
JOHN: They're not too happy about the 2 cops down. It's our show, though.
They've on with the forward position. The suspect can't hit anybody unless we
assault first, which we're going to have to do.
CHARLES VANDERHORN: No, no, no.
JOHN: There's a cop -- a wounded cop -- laid down in the open. She goes to the
hospital in the next five minutes, or she goes to the morgue.
CHARLES VANDERHORN: There's another way. Come on, you find another way.
SAM: All right, look, look. Let's just, uh -- let's see if we can clear a line
and get a couple of phones, ok?
[INSIDE THE STUDIO]
(Between the master control booth and the studio downstairs, gunfire volleys
between the two.)
(OFFICERS with shields walk into the studio. An OFFICER is shot.)
(More gunfire is exchanged between the two areas. BAILEY steps out from a
shield and crouches down.)
BAILEY: Hold your fire!
ECHOING VOICE: Hold your fire!
BAILEY: No one fires until I give the order!
(In the master control booth, one of the children is hurt.)
(An officer crawls along the floor.)
(JOHN brings two phones, one to SAM and the other to CHARLES VANDERHORN.)
JOHN: Hot line into mater control.
(CHARLES VANDERHORN dials.)
SAM: (whispers) Mr. Vanderhorn, we have to end this now.
CHARLES VANDERHORN: Yes.
(The phone rings in the master control booth.)
GABRIEL: Hello?
CHARLES VANDERHORN: (to phone) Hello, Gabriel. This is, uh -- this is your
father.
(GABRIEL hangs up.)
CHARLES VANDERHORN: He hung up.
SAM: Yeah. Ok, we're going to try again, all right? Just let it ring.
COOP: (to SAM) I'm going to let these people pull their buddy out.
(She nods.)
(The phone rings. GABRIEL answers it.)
GABRIEL: You're not mein vater.
SAM: (whispers) I am.
CHARLES VANDERHORN: (to phone) I am.
SAM: (whispers) I'm very proud of you.
CHARLES VANDERHORN: I'm--I'm proud of you, Gabriel.
SAM: (whispers) You've done your duty as a Vanderhorn.
CHARLES VANDERHORN: You did your duty like a -- a Vanderhorn. A true
Vanderhorn.
GABRIEL: Ich bin a Vanderhorn.
CHARLES VANDERHORN: Yeah, I know. Uh, I am very sorry. I--I--I--
SAM: (whispers) No, no, no, no. This has to stop.
CHARLES VANDERHORN: Uh ... you see ... this has to stop.
GABRIEL: No. They killed Uriel and Michael and Raphael. I will kill them all.
Kill with me, Vater.
CHARLES VANDERHORN: No, no. You have too much blood on your hands, son. On
our hands. I'm coming up, son.
GABRIEL: Don't make me kill you, vater. I will if I have to.
CHARLES VANDERHORN: I'm coming up there, and you're going to hand over your gun
to me.
(He looks at SAM and hangs up.)
SAM: Mr. Vanderhorn ... there's a very good chance that he will kill you.
CHARLES VANDERHORN: He has that right.
BAILEY: I can't authorize this.
CHARLES VANDERHORN: Agent Malone, do you have any children?
(BAILEY nods.)
(CHARLES VANDERHORN stands up. He hands the phone to SAM.)
BAILEY: (to radio) All units stay on high alert.
(CHARLES VANDERHORN steps out from behind the shields.)
CHARLES VANDERHORN: I'm coming up.
CHARLES VANDERHORN: Gabriel! I'm coming up, son.
(He gets closer. GABRIEL pops up from the booth and points the gun at his
father.)
GABRIEL: Nein! Get back!
(The police also lift their weapons.)
CHARLES VANDERHORN: Hold your fire!
(CHARLES VANDERHORN maneuvers his way around the dead bodies and makes his way
toward the master control booth.)
CHARLES VANDERHORN: Put the gun down, son.
CHARLES VANDERHORN: Put the gun down, my boy.
(The others watch.)
COOP: (mutters) Come on, come on, come on.
(GABRIEL keeps the gun on CHARLES VANDERHORN, but he doesn't fire.)
COOP: He's going to make it.
BAILEY: It's what happens when he gets in the room.
(CHARLES VANDERHORN walks up the steps to the master control booth.)
CHARLES VANDERHORN: Put the gun down, son.
(He sees his other children dead on the floor.)
CHARLES VANDERHORN: Oh, my god.
GABRIEL: I'll kill you. Don't make me.
CHARLES VANDERHORN: Gabriel, you were meant to ... do good in this life ... to
make life better. For that, I sacrificed my love ... and your soul. I'm not
going to sacrifice your life.
(CHARLES VANDERHORN steps forward. GABRIEL keeps his gun on him.)
CHARLES VANDERHORN: Put the gun down, son.
(Outside, BAILEY issues orders.)
BAILEY: Snipers, get ready.
MAN: Get into position.
(In the booth, CHARLES VANDERHORN doesn't waiver.)
CHARLES VANDERHORN: Gabriel.
(The gun lowers. He drops the gun. CHARLES VANDERHORN steps forward and hugs
him.)
CHARLES VANDERHORN: Oh, my son. My son, my boy.
(OFFICERS enter the control booth behind them, but CHARLES VANDERHORN continues
to hold his son.)
FADE OUT.
FADE IN.
[INT. BEDROOM -- NIGHT]
(SAM and COOP are on the bed.)
SAM: How sad. To know that you've destroyed your children's lives.
COOP: That's about the worst thing I could imagine. As nuts as Vanderhorn is,
he might've had better luck if he had tried to stay involved. The sight of you
having to put words in his mouth because the man didn't have a clue how to talk
to his own kid -- that was about the most pathetic thing I've ever seen.
SAM: Hmm. You know, I-talked to Keller today.
COOP: I heard.
SAM: He told me he was jack. It's odd, though, you know. It doesn't feel like
it's over.
COOP: You might just need some time to get used to the idea.
SAM: Hmm, probably.
COOP: I could get used to this, I'll tell you.
SAM: Hmm. I don't understand why he didn't want to talk about his victims,
though. I mean, Jack always tries to impress me with his superiority.
COOP: You know, Sammy ... this might be your first ... real chance to start
letting go.
SAM: Yeah. It might be.
COOP: It might be.
(She reaches up and they kiss.)
SAM: Has anyone ever told you that you have the most amazing mouth?
COOP: No.
SAM: They should've.
(Sam has a flash: Of VANDERHORN on the phone with her telling him what to say.
Of KELLER talking as if by wrote. A series of close-up flashes between the two
men's mouths. End of flashes. Resume to present.)
(She stares at COOP'S mouth ... thinking ... )
SAM: Words in his mouth. I put words in his mouth.
(She sits up. Still thinking.)
SAM: You want to take a ride with me?
COOP: Sure.
FADE OUT.
FADE IN.
[INT. VCTF - COMMAND CENTER -- NIGHT]
(The team reviews the AUSTER KELLER interview tapes. PETER KOSLOWSKI sits at
the conference table.)
PETER KOSLOWSKI: (from tape) If you don't cooperate, you could find yourself
extradited to one of the fifteen states that want you. Let's see. Uh, nine have
the death penalty. You want to roll those dice?
PETER KOSLOWSKI: I appreciate your feelings, Dr. Waters, but I don't appreciate
being dragged down here in the middle of the night.
SAM: I'm sorry, but this is urgent.
PETER KOSLOWSKI: It's a waste of time.
SAM: No, it isn't.
PETER KOSLOWSKI: (from tape) Is it, now? You know you want to tell us.
What's the use of being the jack of all trades, the greatest serial killer in
the world, if you don't get to talk about it? No one's done what jack's done.
You even turned your hunters into the hunted when you killed Samantha Waters'
husband.
SAM: You did this right before I interviewed Keller.
COOP: You spoon-fed him.
PETER KOSLOWSKI: It's a tried-and-true interview technique. You show them that
you know everything, they might as well give it up.
BAILEY: For normal perps.
PETER KOSLOWSKI: He passed the psych evaluation.
SAM: Austin Keller is grandiose delusional. You described to him one of the
most formidable, one of the most brilliant killers imaginable.
BAILEY: Keller believes that he's Jack.
PETER KOSLOWSKI: But we have the diploma from savannah medical college, dated
in the seventies.
SAM: Planted.
PETER KOSLOWSKI: You're telling me that Keller is not a serial killer?
SAM: No, he's a serial killer. He killed 11 people in Georgia, but he is not
Jack.
PETER KOSLOWSKI: (laughs) No, I'm sorry. I'm not even close to buying this.
SAM: I can prove it isn't Jack.
FADE OUT.
AUSTIN KELLER: (v.o.) You look very nice today, Samantha.
FADE IN.
[INT. THE VAULT - NIGHT]
(SAM re-interviews AUSIN KELLER.)
SAM: I don't believe that you're Jack.
AUSTIN KELLER: You don't want to believe it. Do you know why, Samantha?
Because, deep down inside, you know you should've killed me when you had the
chance, but you didn't have the guts. You got your husband killed, and you
don't have the guts to avenge him.
SAM: What's his name? What's my husband's name?
AUSTIN KELLER: You mean, what was his name?
SAM: Jack knows the name. Now come on, tell me his name.
AUSTIN KELLER: Come closer. I'll whisper it in your ear.
(SAM calls his bluff and leans closer.)
AUSTIN KELLER: No, I don't think I'm going to tell you. I think I'm going to
let you wonder ... twisting ever so slowly in the wind.
SAM: You don't know.
(SAM leans back in her seat.)
SAM: You're not Jack.
[OBSERVATION ROOM NEARBY]
PETER KOSLOWSKI: He's playing with her, like he does with everybody else. It's
him.
(COOP shakes his head and leaves.)
NATHAN: If I were you, I'd amend your charge sheet. It'd be a shame to lose
the Austin Keller case because improperly attributed Jack crimes created a
reasonable doubt for a jury.
(NATHAN leaves.)
PETER KOSLOWSKI: The definitive DNA tests will be back in a week. We'll see
then.
BAILEY: Don't embarrass yourself, Peter.
(BAILEY stands up and leaves.)
CUT TO:
[INT. SAM'S PLACE - NIGHT]
(The door opens and SAM walks in. She closes the front door, puts her bag down
and takes off her jacket. She sits down.)
ANGEL: What are you doing up?
(SAM doesn't say anything, but ANGEL knows something's wrong.)
ANGEL: What's happened?
SAM: It's not him, Angel. It's not Jack.
ANGEL: Are you sure?
SAM: Yeah. (She turns to look at ANGEL.) He's still out there.
CUT TO:
[INT. JACK'S PLACE -- NIGHT]
(JACK pulls out the chest and opens it. He takes out a doll.)
(The needle settles on the record.)
(He sings along with the record.)
SINGING: (with the record)
You know I can't stand it / your runnin' around / you know better, mama / I
can't stand it / 'cause you put me down / yeah / I put a spell on you / because
you're mine
(He puts the photo of SAM in the frame and pours himself a glass of wine.)
SINGING:
ahh.../ you're mine yeah. a-a-all ... mine.
(He picks up the glass. Camera holds on the photo of SAM.)
FADE OUT.
==========================
THE END
==========================
[Closed Captioning made possible by court tv. Captioned by the National
Captioning Institute www.Ncicap.Org]
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Contact the Transcriptionist at (intrepidly002@yahoo.com)
Please do not archive this transcript without permission from the
transcriptionist.
==========================
TITLE/OPENING CREDITS
==========================
PROFILER
1X15: SHADOW OF ANGELS (2)
(A.K.A. GESTALT)
ORIGINAL AIR DATE ON NBC: 02/15/1997
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
JAMES COBURN as Charles Vanderhorn
Special Guest Star
A. MARTINEZ as Nick "Coop" Cooper
PETER CROMBIE
PAUL COLLINS
GREGORY COOLIDGE
TOM EVERETT as Casper
FRANK BIRNEY
GINGER JUSTIN
DON HANDFIELD
GEOFFREY INFELD
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: CHARLES D. HOLLAND
Directed by: KEVIN HOOKS
==========================
END CREDITS
==========================
Sanders/Moses Productions
NBC Studios
NBC Enterprises
Also Starring
CHRISTOPHER JAMES WILLIAMS as Attendant
Story Editor: BOB LOWRY
Story Editor: JEAN GENNIS
Story Editor: PHYLLIS MURPHY
Casting: ANTHONY BARNAO
Director of Photography: MICHAEL BONVILLAIN
Production Designer: JONATHAN CARLSON
Edited by: KAREN STERN
Main Title Theme: ANGELO BADALAMENTI
Music by: JEFF RONA
Unit Production Manager: ANTHONY SANTA CROCO
First Assistant Director: CAROL GREEN
Second Assistant Director: JEFF KAY
Costume Designer: TOM McKINLEY
Production Supervisor: LORIE ZERWECK
Camera Operator: JAMIE MAXTONE-GRAHAM
First Asst. Cameraman: BUTCH PIERSON
Dolly Grip: RICK MAXEY
Production Sound Mixer: KEN SEGAL / DAVID YAFFE
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 Coordinators: BUCK McDANCER / 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 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: KIMBERLY DICKENS
Computer Graphics: PAUL LeBLANC
Post Production Supervisor: LYNN STEVENSON
Assistant Editor: KERRY MICHAEL TYM
Video Insert Coordinator: CRAIG FELLER
Post Production Coordinator: TINA TRIVAN
Playback Supervisor: BOB MORGENROTH
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
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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:03/27/2004~lky
http://www.webphilia.com/~anthology/wnp.html