PROFILER 1X10: SHATTERED SILENCE ORIGINAL AIR DATE ON NBC: 01/11/1997 TRANSCRIBED FROM DVD Written by: GEORGE GEIGER Directed by: SARA PIA ANDERSON Transcript by Intrepid Courtesy of http://www.webphilia.com/~anthology/wnp.html Please do not archive this transcript without permission from the Transcriptionist. ========================== DISCLAIMER: ========================== "PROFILER" and other related entities are owned, (TM) and (c) by Sanders/Moses Productions, NBC Studios, NBC Enterprises, and A&E TV, All Rights Reserved. This transcript was made without their permission, approval, authorization or endorsement. For Fair Use, For Educational and For Entertainment Purposes Only. Any reproduction, duplication or distribution of this material in any form is expressly prohibited. It is absolutely forbidden to use it for commercial gain. CONDITION OF USE: (1) Do not alter the content of this file. (2) Leave the headers/disclaimers in tact because it lists all those who have made this transcript possible for your enjoyment. (3) Provide a link back to the site where this file originated: http://www.webphilia.com/~anthology/wnp.html Contact the Transcriptionist at (intrepidly002@yahoo.com) ========================== SUMMARY: The VCTF investigates the disappearance of a cardiologist from his home; the method has haunting similarities to one of Bailey's unsolved cases years before. ========================== PROFILER 1X10: SHATTERED SILENCE ========================== FADE IN. [INT. RESIDENCE] (Close up of the needle point of a syringe piercing through the vial cap. The syringe is filled with the yellow liquid and is tucked away with the other syringes in the stand.) CUT TO: [INT. RESIDENCE -- DAY] (KARL KRONENBERG comes home from work, keys jingling as he unlocks the door. The door opens and he walks in carrying his luggage.) WOMAN: (on tv) Natalie told me about the baby- (KARL KRONENBERG picks up the remote and changes the channels, then turns the television off. He picks up his mail off of the table and sets down his luggage.) (He pushes the curtains open to let the daylight into the dark room.) (Close up: A lighter's flame lighting the tip of a cigarette.) (KARL KRONENBERG picks up his mail, tucks it under his arm, loosens his necktie and walks over to his desk. He turns the desk lamp on.) (Close up: Cigarette smoke is exhaled; the lighter's lid snaps closed.) (KARL KRONENBERG sits down on his chair; there's a snap. His eyes widen and he starts to seize and he gasps for air.) (Cut with the tip of the cigarette burns as the person continues to smoke.) (KARL KRONENBERG slowly falls forward out of the chair onto the floor, syringe needles stick out through the leather seat backing. Liquid squirts out through the needle tips.) (KARL KRONENBERG falls to the floor, his eyes wide open, puncture wounds in his back.) (The Cigarette Smoker puts the cigarette out in the container with the rest of the cigarette butts.) (The INTRUDER walks over to KARL KRONENBERG on the floor and reaches down to move him.) BLUR TO: [VARIOUS BLURRY IMAGES] (KARL KRONENBERG is tied to a wheel chair and is pushed under a lamp; his eyes open and slowly refocuses on where he is. We see the overhead lamp and the shelves of electronic equipment around him. He sees nothing but blurry lights and quakes with fear.) (Camera pushes in to a television screen of static.) FADE TO END OF TEASER ROLL TITLE CREDITS FADE IN. [INT. VCTF - COMMAND CENTER -- DAY] (BAILEY is in his office with GRIMES from DC. JOHN watches them through the window.) JOHN: This guy is throwing his arms around like he's trying to rope some kind of steer or something. What's up with that? NATHAN: That's Grimes from D.C. Senior Agent, Operations. He's probably describing the glories of North Dakota. When you screw up, that's where they send you. JOHN: Screw up? How can they blame bailey for Molly Sargucci's murder when he was in Arkansas with me? SAM: It was Jack. (JOHN and NATHAN turn around to see SAM standing behind them.) JOHN: (shakes his head) No, no. No way, not this time. There were no messages, no roses, no nothing. Besides, he didn't even know Sargucci. SAM: He didn't kill Bailey. He just stole his badge and pinned it on Molly Sargucci's body. Now, why would he do that? NATHAN: To embarrass the bureau? SAM: I don't know. Whatever it is, he's changed his M.O. (The phone rings; NATHAN answers it.) NATHAN: (to phone) V.C.T.F. Brubaker. (BAILEY and GRIMES step out of the office into the hallway.) GRIMES: Put it in perspective, Malone. I'm not the enemy. I helped you get this outfit on its feet. Believe me, I want you to make it work. BAILEY: Try this perspective: You're here to put a patch on the bureau's black eye. Your only stake in the V.C.T.F. is how it helps or hurts your own career. Have a lovely day. (BAILEY walks away and heads for the group.) BAILEY: From the look on your face, I'd say you want to place a bet about how soon I get the ax. (SAM and NATHAN say nothing; JOHN doesn't say anything for a moment, then nods his head.) JOHN: Absolutely. Ten bucks. You want in? BAILEY: You're on. I'm not going anywhere. (BAILEY turns to walk away when NATHAN hangs up.) NATHAN: We got one. Huntsville, Alabama. A doctor with top security clearance is missing from his house, and D.C. wants us on it right away. BAILEY: Any witnesses? NATHAN: None reported. There's some weird thing about some needles, too. BAILEY: Let's roll. Five minutes. (BAILEY turns and heads back to his office. Suddenly, he stops and turns to look at NATHAN.) BAILEY: Aren't you on vacation? NATHAN: Technically, but I figure, with everything going on, you'd want all hands on deck. BAILEY: We can handle it, Nathan. Go on home. You deserve it. NATHAN: Ok. (NATHAN leaves. Overhearing their conversation, JOHN looks at BAILEY.) JOHN: Vacations? I--I didn't know they gave us vacations around here. BAILEY: In your case, John, we don't. (BAILY flashes JOHN a smile.) CUT TO: [EXT. ALABAMA (STOCK) - DAY] LEGEND: HUNTSVILLE, ALABAMA [INT. KRONENBERG RESIDENCE -- DAY] (The house is filled with OFFICERS. JOHN walks into the study and heads for BAILEY who is standing near the window. SAM kneels as she looks over the floor behind the desk.) JOHN: Dr. Karl Kronenberg, single, 43, Chief of Cardiology at Huntsville Physician's Hospital. His housemaid came in this morning around 11:00 and found this. BAILEY: Do we have a point of break-in? JOHN: Yeah, the broken skylight. Neighbors heard nothing. There is a back road. SAM: He'd been flying? BAILEY: Just got back from Moscow this morning. He was one of the doctors consulting on Yeltsin's bypass. SAM: Long trip. Probably just wanted to get home, have a shower and a nap. (She gets to her feet. The floor behind the desk is littered with the unopened mail. The back of the upholstered chair has been stripped to show the ten syringes secured in the back of the seat.) (Quick flash to: KARL KRONENBERG sits down behind his desk to open his mail. End of flash. Resume to present.) SAM: They really knew his habits. They knew he liked to sit in this chair to read his mail. So he comes in, decides to sit down and catch up, and -- JOHN: He turns into a dart board. You guys think this could be international, maybe, uh .... one of Yeltsin's rivals? (SAM stares at the needles.) (Quick flash to: Close up of the Syringe as it's being placed on the board. KARL KRONENBERG falls to the floor, his eyes wide open. The INTRUDER drags him away. End of flashback. Resume to present.) JOHN: Right-wingers? SAM: No ... if it was a hit, why would you use hypos? I'd say he was abducted. JOHN: No ransom demands. At least, not yet. SAM: I don't think they want a ransom. BAILEY: You're right. If you kidnap somebody for money, it's business. You don't take any risks you don't have to. (BAILEY kneels next to the chair and swivels it toward SAM.) BAILEY: You don't do it alone. SAM: Well, this guy was definitely alone. That's why he used so many syringes, so he wouldn't miss. Some kind of a drug, something hard and fast. When do we have forensics? BAILEY: Early tomorrow. JOHN: Uh, guys, I don't get it. If you want to abduct somebody, why not just use a gun? Why get so fancy? SAM: Well, I think that the syringe is part of his psychosis. You know, we shouldn't eliminate the possibility that this could be the work of a woman. (This surprises BAILEY and JOHN.) CUT TO: [ ] (SAM opens the doors and walks into the next room. She looks around and sees the blanket and cigarette butts. She also looks at the static on the television set. JOHN walks into the room.) JOHN: Neighbors say that Kronenberg doesn't smoke, so we're running hair fibers from the pillows and obviously saliva from the cigarettes. Huntsville P.D. believes we've got a real cool pro on our hands, waited up here until the needles did their work. SAM: And why would you wait up here? You might not hear him come in. BAILEY: Especially with the TV on. (JOHN doesn't say anything. Using a handkerchief, SAM flips the remote over. She hits the "DISPLAY" button and finds that the station is on channel 9.) (Quick flash to: The hand puts out the cigarette butt. Flash of the remote. Flash of the static on the television. End of flashes. Resume to present.) (SAM turns around to look at the others.) SAM: Why would you tune to an unused channel? (BAILEY scoffs and shakes his head. He's writing in the notebook. SAM stares at BAILEY picking up on something from him.) SAM: Bailey, what's up with you? BAILEY: Two years ago, another doctor fell off the planet. Same city, same M.O. I have a bad feeling it's a repeat performance. CUT TO: [EXT. VCTF BUILDING (STOCK) - DAY] [INT. VCTF - COMMAND CENTER -- DAY] (BARBARA CHAPIN paces the floor when BAILEY walks in. She turns and sees him.) BARBARA CHAPIN: Bailey! (She rushes over to him.) BAILEY: I was just going to call you. BARBARA CHAPIN: I heard about what happened on the news. I'm calling Lawrence. We're friends. It's happening again. BAILEY: I think so, too, but we're not sure yet. Let's talk in my office. (BAILEY leads BARBARA into his office. JOHN sees them as he and SAM head for the bullpen.) JOHN: Anybody we know? SAM: I've never seen her before. [BAILEY'S OFFICE] BARBARA CHAPIN: Two years ago, things were mishandled, and I still think that if you had stayed on it -- BAILEY: Agents get reassigned all the time, Barbara. I kept up with the investigation, we talked ... every two weeks, there's nothing I could've done that wasn't done. BARBARA CHAPIN: You're right. Lawrence is dead, and I've come to grips with that. But it's a tragedy that didn't need to be repeated. BAILEY: I've got a new team. We're on it. BARBARA CHAPIN: Then please, Bailey, promise me that you'll stick with it this time. I want this person caught. BAILEY: I promise. CUT TO: [EXT. NATHAN'S RESIDENCE -- DAY] (NATHAN steps out of the house and puts his shirt on. He heads out to the barn.) [BARN] (NATHAN opens the barn door and looks at the car he's putting together. He pulls the tool kit down from the shelf and opens it taking out the tools he needs.) (A camera shutter flashes taking note of the tool kit.) (NATHAN settles back on the dolly.) (The camera shutter clicks.) (NATHAN pulls himself under the car.) (The camera shutter clicks several more times. Taking note of NATHAN and the car.) (NATHAN pushes himself back out from under the car and appears to be looking straight at the camera. He looks around but doesn't see anyone there.) (The camera shutter clicks again and again and again and again ... ) CUT TO: [INT. JACK'S PLACE] (JACK cuts the NATHAN'S picture out from the photo.) (On his desk are all the various photos of NATHAN in his barn. He puts the knife back in its holder and pins NATHAN'S cut out photo onto the board with the other photos, a picture puzzle of NATHAN'S barn.) CUT TO: [INT.] (JOHN is looking through a file when SAM walks in.) SAM: Hey. (He looks up.) JOHN: Hey. We got the results in from the residue from the Kronenberg hypodermics. SAM: Why are some of the needles yellow and others blue? JOHN: Oh, it seems that some of them have a chemical that turns blue in contact with blood. It's, uh ... it's, uh ... "tubo ... tubocure ... " anyway, whatever. Some kind of chloride. It's a neuromuscular blocking agent used in surgery. SAM: Yeah. Also in poison arrows. That's curare, John. Welcome to the jungle. CUT TO: [INT. VCTF - COMMAND CENTER -- DAY] (BAILEY walks into the CONFERENCE ROOM.) BAILEY: Good morning. EVERYONE: Morning. BAILEY: We've just landed a full-scale National Security flap, so heads up, and I'll tell you how we got there. Two years ago, Dr. Lawrence Chapin disappeared from his home in Huntsville, same M.O. as yesterday. Dr. Chapin was a hearing specialist of national reputation. Like his friend Karl Kronenberg, they both had high security clearance. JOHN: Uh, I started the background you asked for in the Kronenberg case this morning. Chapin and Kronenberg worked together on three top federal cases in six years: Space flight research with defense spin-offs. (As she listens, SAM looks at a photo of the needles from the back of the chair. She starts circling some of them.) JOHN: Chapin also has a degree in engineering and ran a lab. BAILEY: Let's go back there, have another look. JOHN: All right. I'll set it up. BAILEY: Well, I worked the case for about a minute, I looked into the security angle and I didn't find anything. JOHN: Two friends, doctors, vanish nearly two years apart, no bodies, it's ... kind of creepy. (The photo on the monitor changes and SAM recognizes the woman in the picture with Dr. Lawrence Chapin.) SAM: Your friend from yesterday? BAILEY: (sighs) Barbara Chapin, his wife. Of course, we gave her a look, but she checked out. She was visiting her parents in Oregon. SAM: What's Barbara Chapin doing in Atlanta? BAILEY: Well, the Atlanta Bureau was handling the kidnapping. She lived it night and day. Felt cut off in Huntsville, so she moved here. (SAM looks at another photo and starts to draw connecting lines on the items on it.) BAILEY: Another tantalizing angle I never got to explore: forty-six love letters we found in Chapin's office. No signature. We thought it might lead to a romantic abduction, but they led nowhere. (SAM compares the two photos.) BAILEY: Still, it might tie into the possibility Sam raised, that the abductor is a woman. Sam, have a look at these. (BAILEY hands her the file with the letters.) SAM: Thanks. JOHN: So there's no match on either house. BAILEY: A few smudged prints on the paper. Nothing we could match. (SAM draws connecting lines on the first photo and notices a pattern.) (Quick flash to: The needle tips. End of flash. Resume to present.) SAM: Look at this. (SAM hands the photos over to JOHN and BAILEY.) SAM: The, uh, the needles form ... a pattern. Not all of them, just the ones in blue, the ones with curare. Look, Chapin and Kronenberg. The same thing. Sort of reminds me of a tattoo. The victims are being marked with a symbol. It must mean something to the kidnapper. JOHN: Isn't it backwards? I mean, it would make the reverse on the bodies, some kind of mirror image. SAM: Yeah. BAILEY: I'll get research on it. Ok. The average kidnapping turns into murder after 48 hours. We've already had 21. (BAILEY stands up.) BAILEY: We're on the clock. (SAM turns and looks at the photo of the CHAPINS on the monitor.) FADE OUT. FADE IN. [INT. VCTF - SAM'S OFFICE] (SAM is at her desk reading the letters. She turns around and changes the radio station to static.) (Quick flash of various images: The television remote; the television static; a running shower. End of flashback. Resume to present.) (SAM listens to the static ... thinking.) CUT TO: [INT. VCTF -- COMMAND CENTER] (The TECH puts the radio on static.) SAM: You hear that? That's the sound that a radio or tv makes when it's not tuned to a station. It's called white noise. BAILEY: What's the connection? SAM: Well, I went back, and I reread the police report from the Chapin abduction. Now, they found cigarette butts in the bathroom sink, so the abductor waited in the back room, just like at the Kronenberg house, and ... look at this. (SAM takes out a photo.) SAM: See that black smear on the edge of the tub? That's cigarette ash, so the tub was wet. BAILEY: Shower. He was using the shower to create white noise. SAM: Exactly. Just like the tv in Kronenberg's den. The kidnapper needs white noise. BAILEY: So let's say he's psychotic. He hears things, voices. He uses the white noise to drown them out. SAM: Well, I thought about that, but it just didn't feel right, so I went back, and I found that white noise is also used to treat people who suffer from tinnitus. BAILEY: It's got to be more than just a ringing in the ears, Sam. SAM: Well, maybe not. I mean, chronic tinnitus has driven people crazy, even to the point of suicide. White noise is one of the few things that masks it. BAILEY: Chapin's specialty. SAM: Hearing loss and deafness. He would've been an expert on tinnitus. So that's our connection. BAILEY: Our connection to what? First an ear doctor, now a heart surgeon. Why is somebody kidnapping doctors? CUT TO: [EXT. CHAPIN RESIDENCE - POOL SIDE -- DAY] (BARBARA CHAPIN meets with BAILEY.) BARBARA CHAPIN: I would've come to your office, bailey, but thank you. BAILEY: We think the kidnappings are linked to your husband's work with tinnitus. Any ideas? BARBARA CHAPIN: It's funny. All these months, we've always talked about him as the case. BAILEY: Well, that's how it usually goes. Work gets kind of impersonal. Almost needs to be. BARBARA CHAPIN: We've never talked about ourselves. BAILEY: It seems like I know a lot about you. BARBARA CHAPIN: That's because you've got a file on me. (They laugh.) BAILEY: That's true. Ok. Fire away. BARBARA CHAPIN: Well, I already know you're very devoted to your job, but what does your family do without you? BAILEY: My family does very well without me ... or so I'm told. BARBARA CHAPIN: You split up? Well, it's her loss. Do you have any kids? BAILEY: Two daughters. They're in Baltimore. BARBARA CHAPIN: (wistfully) Lawrence and I never did get around to children. What are their names? BAILEY: Ariana and Frances. CUT TO: [INT. VCTF - COMMAND CENTER] (JOHN and BAILEY sit talking as SAM joins them.) JOHN: I'm trying to cross-reference Kronenberg's patient list. The good news is, we have access to Chapin's lab this morning. SAM: Something's wrong. Maybe I made a mistake. Maybe it's not Tinnitus. BAILEY: You're back to my voices in the head theory? SAM: Well, I don't know, I mean -- but if you've got tinnitus, and white noise helps, why wouldn't you buy something like a little portable radio? That way, you could listen to the static over the earphones. JOHN: Yeah, you don't need to go around turning on tv's and showers. SAM: Right. So maybe you don't have an actual medical problem. Maybe it is just a mental one. BAILEY: A hallucination? SAM: Yeah, but you refuse to believe that, so the white noise gets to be like a ritual. It comforts you, even though the -- the tinnitus is an illusion. It's all in your head. BAILEY: Psychotic? SAM: Yes, but it isn't erratic. I mean, you're sitting there smoking, patiently waiting for your prey. I mean, that's very controlled. So this person thinks that the white noise will help, but it can't. BAILEY: We should take a look at regional sanatoriums, uh, mental institutions. SAM: And we should check for anybody who has a history of ... I don't know, call it hypochondriac sound fantasy. JOHN: Is that a real thing? SAM: Just go with it. You know, somebody who thinks that they have chronic tinnitus. You know, they have drugs for auditory illusions. BAILEY: Let's run a list of users. JOHN: Ok. CUT TO: [INT. JACK'S PLACE] (JACK is using a welder to weld weights together.) (When done, he picks up a remote and flicks it on. The weights fall crashing to the ground.) CUT TO: [EXT. BUILDINGS (STOCK) - DAY] LEGEND: CHAPIN AND ASSOCIATES AUDIO LAB [INT. LAB -- DAY] (BAILEY, JOHN and SAM follow the SCIENTIST down into the lab.) SCIENTIST: I was Dr. Chapin's research coordinator. I guess, in a strange way, I still am. We're continuing his work -- slowing down without him, of course. SAM: And you worked with him on tinnitus? SCIENTIST: For about a year. Very promising. We actually got started with a grant from NASA to create silence. JOHN: I suppose that's not as simple as it sounds, so to speak. SCIENTIST: No. Even midnight in a graveyard isn't actually quiet. It's all relative. You might hear crickets, but not a distant airplane. Certain sounds cancel others out. BAILEY: And this works on tinnitus better than white noise? SCIENTIST: Oh, yeah. Much better. Completely. (He turns around and flicks some switches on the panel behind him.) SCIENTIST: There, now tell me what you hear. JOHN: Kind of a--a hum? Now nothing. (SAM says something and her voice starts off distorted, then disappears completely.) SAM: (distorted) Did d-- (SAM continues talking, but no one can hear her voice.) BAILEY: (laughs) Sam, nothing's coming out. (Smiling, SAM continues talking as if nothing's wrong. Still, nothing.) (The SCIENTIST turns back to the panel and readjusts the sound.) SAM: (soundless) Something's wrong with my voice. That's amazing. You've completely neutralized it. SCIENTIST: Impressive, isn't it? JOHN: Your voice was totally gone. SCIENTIST: No, no. Not gone. I -- I took it. I made it inaudible. It's called phase cancellation. We measure the frequency and overtones of your voice and then generate the exact sounds to cancel them out. (SAM looks around at the equipment and sees something: the equipment logo.) BAILEY: I can see why the top security. This has huge military capabilities. (Quick flash of: The "Z" pattern on KRONENBERG'S back ... in the needles ... on the equipment. End of flash. Resume to present.) (SAM walks over to the equipment.) BAILEY: Stealth technology, submarines ... SAM: What is this symbol? SCIENTIST: Phase zero? It's a symbol we use for maximum quiet. (Everyone looks at each other. BAILEY steps forward.) BAILEY: We'd also like to see Dr. Chapin's office. Is that around somewhere? SCIENTIST: Oh, uh, sure. Well, follow me. (He leads them away from the lab to a desk in the corner of the room.) SAM: This is his office? But I thought that he owned the lab. SCIENTIST: He did. He used to have a big corner office upstairs. I never understood why he wanted to move here, but he insisted emphatically just before he disappeared. Well, holler if you need anything, ok? BAILEY: Thanks. JOHN: Thanks. (The SCIENTIST leaves.) JOHN: Well, we have files, files, files, files, files, desk stuff. (BAILEY picks up a framed photo of BARBARA CHAPIN from the box and looks at it.) SAM: Why would a guy who rates an office upstairs ... want to be down here? (SAM sits down, thinking. BAILEY and JOHN go through the things. They call out items as they see them.) BAILEY: Stapler. JOHN: Salt substitute. BAILEY: Pills. SAM: What kind of pills? BAILEY: He's got Vitamin C, aspirin, vitamin E. (Quick flashes of: The stairs in the lab. The prescription bottles. A syringe. End of flashes. Resume to SAM.) SAM: He had a heart problem. (thinking) He's alive. JOHN: Who is? SAM: Chapin. He had a bad heart, but he's not dead. JOHN: I see where you're going with this. The stairs. He didn't want to keep going up and down SAM: Right, and the salt substitute, the vitamins, the aspirin- BAILEY: If he had a heart problem, we'd have found medical records. His wife would have known something about it. She never said anything. She sure as hell would've. I mean, why keep it a secret? JOHN: Keep those fat federal grants rolling in. BAILEY: Ok, then where is he? It's been two years. SAM: I don't know, but he was developing a state of the art treatment for tinnitus. Whoever took him wanted it. (The SCIENTIST walks back into the room.) SCIENTIST: Excuse me, you've got a phone call on line 3. You can take it right there. (BAILEY picks up the phone.) BAILEY: Malone. (pause) Yeah. CUT TO: [EXT. AIRPORT - DAY] LEGEND: HARTSFIELD ATLANTA INTERNATIONAL AIRPORT (OFFICERS walk around the crime scene. KARL KRONENBERG hangs upside down from behind one of the side walls.) ESCOBAR: You think we'd have run a test if we knew he was hanging there? BAILEY: What was the M.E.'S preliminary? Was he killed first? JOHN: No. He died right here. BAILEY: When's the last time somebody took a look back here, Mr. Escobar? ESCOBAR: About an hour ago. We had a J-40 scheduled for a compliance burn at noon. That's a 20 minute test at full throttle. The deflectors took care of the blast. It was the sound. SAM: That's what killed him? ESCOBAR: Yes, ma'am. That's what it was. You run a J-40 without baffles, it's not really a sound, it's one long explosion. (Quick flash to: The jet engine runs and KRONENBERG screams in pain. End of flash. Resume to present.) SAM: It was a demonstration of what it's like to live with a sound so monstrous, you'd do anything to stop it. BAILEY: But why kidnap Kronenberg to treat Chapin's heart and then kill him? SAM: Because Kronenberg failed. I mean, if a man is dying, and the doctor can't save him, you don't need the doctor anymore. FADE OUT. FADE IN. [EXT. VCTF BUILDING (STOCK) - DAY] [INT. VCTF - COMMAND CENTER -- DAY] (The team is in the room while SAM talks.) SAM: We're exploring the premise that for the last two years, Lawrence Chapin has been a slave, that his captor hears a sound which is so deafening and constant that he or she is convinced that Lawrence Chapin can build a phase zero device to stop it. BAILEY: Chapin's kept in a straightjacket of curare, but his heart is failing. JOHN: So obviously, Kronenberg was kidnapped to help him. We searched the pharmaceutical computer networks and found this. You want to punch that up there? TECH: Sure (A prescription slip appears on the monitor.) JOHN: This is a prescription written by Kronenberg after he disappeared. BAILEY: Ok, let's assume Chapin's still alive. How bad is he? SAM: He's got congestive heart failure. Started seeing a specialist in 1994, not Kronenberg. JOHN: He sure is worried about losing that grant money. SAM: You know, with regular treatment, he could live. BAILEY: But he isn't getting any treatment. JOHN: His heart pumps so slowly that he fills up with fluids. This drug lasodril is a powerful I.V. diuretic. It's tricky to use outside of a hospital. SAM: So while Chapin was going critical, Kronenberg was in Russia. Pretty bad timing. BAILEY: Kronenberg gets back. Chapin's so ill that, short of an Intensive Care Unit, no one can save him. SAM: That's the ironic thing. Chapin has always been doomed to fail. I mean, the sound isn't real, so there's no phase zero machine ever built that could stop it. CUT TO: [EXT. NATHAN'S RESIDENCE -- DAY] (NATHAN goes back to working on his car. He settles on the dolly and pulls himself under the car to work on it.) (As he works on the car, NATHAN pauses for a moment and listens. Nothing. He goes back to working on his car.) (JACK flips the remote and the jack gives way. The car falls on NATHAN.) (He screams.) (Then he realizes that the car isn't crushing him. He's not hurt and he's still alive.) (JACK walks up to him and kneels down. NATHAN knows that someone is there.) NATHAN: Right here -- help me, please. Come on, help me out, all right? (JACK stands up and walks over NATHAN.) NATHAN: Hey, come on, please! (JACK walks around the car. NATHAN sees his legs.) NATHAN: Come on. Hey, please, come on, help me out. Please help me. (NATHAN sees JACK walk back.) NATHAN: Who are you? Why are you doing this? CUT TO: [INT. VCTF - SAM'S OFFICE] (SAM is going over the letters when she hears a knock on the door.) SAM: Hey. (BAILEY walks in.) BAILEY: How's it going with the letters? SAM: Well, read in hindsight it's clear to see that the writer didn't love him - she needed his help. (BAILEY sits on the couch next to SAM taking the letter she holds out for him.) BAILEY: (reading) "only you can give me what I need." SAM: Right, "to make life worth living" or "I can't live without you," it's things like that. BAILEY: He was a salvation, or at least she thought he was. SAM: Mmm. Bailey ... can I ask you a personal question? (He nods.) SAM: Is there something going on between you and Barbara Chapin? (BAILEY smiles.) SAM: Do you know what you're getting into here? I mean, have you even told her that Chapin might still be alive? BAILEY: We don't know that's true. SAM: You have a professional respon-- BAILEY: I know my job, Sam. I guess I missed the sign that said "ethics lecture this morning." SAM: Come on, I am talking to you as your friend. I really think that you're on the edge here. This woman has already accepted her loss. She's vulnerable. I mean, do you want to wake up with her one morning and find out that he's coming home? BAILEY: You know what it's like to wait for a telegram, call that never comes? After a while, people need to put it behind them. SAM: Look, I just want you to be happy. BAILEY: It's not often I meet a woman like Barbara, Sam. Ever since Shannon, I haven't had such a great run of it. SAM: I know. (She reaches out and places her palm flat against his cheek; BAILEY takes her hand and holds it.) SAM: Look, I'm, uh ... I'm not gonna be here this afternoon. I'm heading over to the Clairmont Sanatorium. I've narrowed down a list of mental patients. (SAM stands up and moves behind her desk.) BAILEY: Your sound fantasy list? SAM: Yeah, thirty-one matches in six states of people all reporting auditory hallucinations like tinnitus. BAILEY: Were they all taking injections? SAM: Well, eleven of them were, so I went digging through their medical histories, and I found this one -- where did I put it? Yeah. Clairmont, between '92 and '95. She slept with her hair dryer running, and she also kept her tv in her bedroom tuned in-between stations. BAILEY: Could be our girl. SAM: Could be. (JOHN appears in the doorway.) JOHN: Hey, guys, Nathan's been in an accident. (SAM and BAILEY drop everything and head out.) CUT TO: [EXT. NATHAN'S RESIDENCE - DAY] (The car drives up the driveway and parks behind the police cars and ambulance. JOHN runs out of the car.) JOHN: Where is he? Where is he? NATHAN: Just give me a second, all right? JOHN: Nathan, man, they said you'd been crushed. You don't look too flat to me. NATHAN: (angrily points to the car in the barn) I was pinned under that thing for an hour, expecting it to fall the rest of the way. JOHN: You ok? NATHAN: Yeah, yeah. JOHN: You're ok? NATHAN: Yeah, now I am. JOHN: You all right? NATHAN: Yeah. JOHN: I'm gonna go check things out, ok? NATHAN: All right. (JOHN runs toward the barn. NATHAN rounds on SAM.) NATHAN: (accusing) I didn't sign on to this detail to wind up on Jack's hit parade! SAM: Wait a minute -- Jack? What are you talking about? Did you see him, or - NATHAN: Not--not his face, but who else could it be? I mean, first, he--he rips off Bailey's badge, but now he's got my number. Hell, I'm lucky to be standing here! BAILEY: Let's thank god you are standing there. NATHAN: Bailey, we need to talk about this. BAILEY: Give me a minute, Nathan. (BAILEY heads for the GRIMES talking with an officer in the barn.) BAILEY: What the hell are you doing? GRIMES: You know the rules of engagement. When an agent gets burned, we go to the wall. I'm bringing fifty more agents into town, and we're going to rock and roll on this clown. BAILEY: Don't waste your time. This is V.C.T.F. business. (SAM studies the jack holding the car up.) (Quick flash to: The remote. The jack. And JACK walking around the car. End of flashes. Resume to present.) SAM: He rigged the jack. He rigged it so that the car would fall just enough to scare you, Nathan. NATHAN: Jack's a killer. Why would he do all this work and not ice me? SAM: Because this is a game for him. He wants to scare the V.C.T.F. away, so that I'm out there alone. GRIMES: It's an "up yours" from Jack. This whack has your team in his cross hairs, and he's going to quit sending invitations and unload on you. I'm calling out the cavalry. BAILEY: (amused) Do that, he'll go down so deep, we'll need a diving bell to find him. GRIMES: Talk to me next week when I have this nut-bread in the slam. (BAILEY heads for SAM and yells over his shoulder back at GRIMES.) BAILEY: It's my operation, so back off. GRIMES: How many more people have to die, Malone? BAILEY: He's going to try to pull rank. I'll call a few people and block him. SAM: Maybe he's right. Maybe the best chance you have is for me to go away again. BAILEY: That's exactly what Jack wants, Sam. Best chance we have is to stay together. JOHN: Bailey, Sam, take a look at this rear panel here. (JOHN turns on the black light and a message appears: HELL ON EARTH.) SAM: Nathan, I'm so sorry - NATHAN: (angry and accusing) I don't want any of your damn apologies. Just put the genie back in the bottle. Maybe we do need their help. Maybe Jack-- maybe Jack is just better than we are. (BAILEY puts his arm around NATHAN'S shoulders and pulls him away from SAM.) BAILEY: Let's have that talk, Nathan. (SAM and JOHN silently watch them leave.) CUT TO: [EXT. CLAIRMONT - DAY] LEGEND: CLAIRMONT SANATORIUM [INT. CLAIRMONT SANATORIUM -- DAY] (SAM and JOHN walk through the SANATORIUM interviewing the DOCTOR.) DOCTOR: When you called me about somebody having fantasies about tinnitus, I, uh--I reviewed her case. We treated her with anti-psychotics. There was no lasting effects, I'm afraid. SAM: And you're certain it wasn't a tumor or an infection? DOCTOR: Oh, absolutely. The sound Dana heard wasn't real. She left us, finally. Well, we're not a jail. (One of the patients, ARNOLD, stands in front of them and sniffs them.) DOCTOR: Arnold? Arnold, why don't you go and see if the singing's about to start? (ARNOLD turns around slowly and walks away, keeping a dubious eye on them.) DOCTOR: (to SAM) I'm sorry. JOHN: Do, uh ... do all your patients use these anti-psychotics? DOCTOR: Uh, no. No, not all. Actually, many are functional outpatients. Dana was ... well, in-between. SAM: Any basis to her psychopathology? A trauma or an accident, maybe? DOCTOR: Actually, her grandfather was killed when she was eight, and, well, she saw it. Can you imagine? You go to visit your grandfather at his big old place in the country. He lets you help him with his woodworking. You slip, he tries to catch you. I guess he was damn near dismembered by a band saw. (Quick flash of: The high pitch whine of the saw. A yell. Blood spurts on the saw. End of flash. Resume to SAM.) SAM: The sound she hears, did she ever describe it to you? DOCTOR: A scream. An endless scream. SAM: Maybe it was the sound of the band saw itself. In her mind, that moment is forever. DOCTOR: I know one thing. Dana Shaw couldn't get that sound out of her head. CUT TO: [INT. BARBARA CHAPIN'S RESIDENCE] (BARBARA CHAPIN walks over to give BAILEY his drink. BAILEY sits by the fire looking at a framed family photo. As she approaches, he stands up. She hands him the brandy glass.) BARBARA CHAPIN: What shall we toast to here? (She puts a hand on his chest and leads toward him. They kiss.) (As the kiss deepens, they move to the couch.) BAILEY: 20-second time-out here. BARBARA CHAPIN: (laughs) Ha. Is that a basketball reference? I'm too old for games, Bailey. BAILEY: I came here tonight to tell you something, Barbara. I shouldn't have let this happen. BARBARA CHAPIN: Bailey, this is happening because we both want it to. If not tonight, soon. It was inevitable. (She leans in to kiss him; he stops her.) BAILEY: (sighs) We're not sure he's dead. BARBARA CHAPIN: (surprised) Lawrence? (She climbs off of BAILEY and sits on the couch next to him.) BARBARA CHAPIN: I don't understand. BAILEY: We found Karl Kronenberg's body today. So we think it means that there's this slight chance that Lawrence may still be alive. BARBARA CHAPIN: How could that be? (BAILEY gets to his feet and puts some distance between them.) BAILEY: I said 'may' still be alive. It's a long shot, Barbara, but we think that Karl Kronenberg was kidnapped to treat your husband. BARBARA CHAPIN: Well, why didn't you tell me that before? Did you enjoy watching me make a fool of myself? BAILEY: That's not--no. I mean, it was going to be the first thing out of my mouth when I came here, and then you had dinner set up, and I was ... you know, I, uh... you're a wonderful woman. Got in the way of my good sense. I'm sorry. (BAILEY grabs his jacket.) BARBARA CHAPIN: Call me when you know something. BAILEY: I'll find him. (BAILEY leaves.) CUT TO: [EXT. SAM'S RESIDENCE - NIGHT] [INT. SAM'S RESIDENCE -- NIGHT] (SAM dials.) INTERCUT WITH: [INT. VCTF - BAILEY'S OFFICE - NIGHT] (The phone rings; BAILEY answers it.) BAILEY: Malone. SAM: (from phone) Hey, it's me. Listen, my possible at Clairmont fits the profile, and I managed to get her picture, too. BAILEY: That's great. How about an address? SAM: (from phone) No, no luck, but you know what I was thinking? She might be one of Lawrence Chapin's graduate students. BAILEY: Sam, meet me at Barbara Chapin's in twenty minutes and bring your photo of the possible. (SAM hangs up.) (BAILEY hangs up.) CUT TO: [EXT. BARBARA CHAPIN'S RESIDENCE -- NIGHT] (BAILEY drives up, parks and approaches the front door only to find it open.) BAILEY: (shouts) Barbara? (BAILEY takes out his gun and loads the chamber. He slips into the house. He walks into the living room where the fire is still burning and the television is on static.) (BAILEY walks down toward the television set, turns around and finds BARBARA CHAPIN on the couch, unmoving and eyes-wide.) FADE OUT. FADE IN. [INT. CHAPIN RESIDENCE -- NIGHT] (Police officers and emergency personnel are at her place. BARBARA CHAPIN inhales deeply to an oxygen mask.) BAILEY: Feel better? Did you at least get a glimpse of her? BARBARA CHAPIN: I was paralyzed. JOHN: I don't see our girl in the photo of the graduate students. SAM: Really? JOHN: No. (JOHN holds out a photo for BARBARA to look at.) JOHN: Uh, Mrs. Chapin ... do you, uh ... do you recognize this woman at all? BARBARA CHAPIN: No. I don't think so. I've never seen her before. Who is she? SAM: Her name is Dana Shaw. She was a patient at Clairmont. She checked herself out in 1995, a month before your husband was kidnapped. (BAILEY and SAM step aside.) BAILEY: I guess she wrote all those letters to Chapin while she was at Clairmont. What the hell was she doing here? (Quick flash to: DANA SHAW ransacking the place. End of flash. Resume to present.) SAM: He sent her. He sent her for something he said he needed. JOHN: Why didn't he send her before? SAM: Because he's dying. It's his last chance, and she knows it. BAILEY: Last chance to build a phase zero machine. What does he need? SAM: It doesn't matter. I mean, I think that he really sent her here to give us a clue as to where we might find him. (SAM turns around to talk with BARBARA.) SAM: Mrs. Chapin, do you know what she took? BARBARA CHAPIN: She searched everywhere. SAM: This wasn't a search. You don't find anything by breaking lamps. No. She knew exactly what she wanted. (Quick flash to: DANA SHAW smashing the framed photo with her shoe. End of flashback. Resume to present.) SAM: The rest of this is just lunatic anger. (SAM kneels down and looks at the smashed photo.) BARBARA CHAPIN: (explains) It's Lawrence and his parents. Why would she be angry with them? SAM: I think she feels that your husband's let her down. Where would she find this? Was this over here? BARBARA CHAPIN: No. In the chest over there. (BARBARA walks over to the chest.) BARBARA CHAPIN: I packed a lot of Lawrence's personal things in here. BAILEY: Could you tell if anything was missing? BARBARA CHAPIN: I should be able to. It's his journal. It was right on top. It was green leather. BAILEY: What was in it? BARBARA CHAPIN: Ideas, sketches ... you know, he was a Sunday painter. He liked to draw old houses. SAM: Any old house in particular? BARBARA CHAPIN: No. He'd just drive around looking. You know, actually, there was a woman who sent him a photo from Atlanta. He drove down there the last time he was here, said something about it falling apart, something about a terrible accident. (Quick flash to: The buzz saw whines. GRANDPA SHAW steps forward, slips and blood spatters on the saw. LITTLE DANA SHAW screams and covers her ears with her hands. End of flashback. Resume to present.) BARBARA SHAW: I have the address. CUT TO: [EXT. ATLANTA CITY (STOCK) - NIGHT] LEGEND: ATLANTA, GEORGIA [EXT. OLD SHAW HOUSE -- NIGHT] (Officers surround the house. BAILEY, JOHN and SAM hunker down nearby and assess the situation.) JOHN: (to SAM) From the looks of it, this place looks deserted. Do you think we should cut off the power? SAM: No, I don't think so. BAILEY: You don't think you can talk her out of it, do you? SAM: I think this woman's capacity for rational thought is gone. I'm not to be able to make her listen to reason. BAILEY: And I agree. Going in. JOHN: Me, me, me. You guys got to learn another pronoun. (JOHN cocks his gun and follows BAILEY.) (BAILEY and JOHN stand on either side of the front door.) BAILEY: (to radio) Hold your fire, we're going in. (JOHN kicks the door in and they enter, guns drawn. Inside, the place is dark and quiet; a lamp is on at the end of the hallway, chairs overturned on the floor. They make their way into the house.) (JOHN goes down the stairs into the basement while BAILEY heads toward the second floor stairs.) (JOHN passes a lit lamp in the basement.) (BAILEY finds a room with equipment and radio parts emitting a low frequency hum. He cautiously enters the room and finds LAWRENCE CHAPIN suspended in the air by a harness. He's working on the equipment.) LAWRENCE: (gasps) Oh. (BAILEY walks into the room.) (DANA SHAW screams.) DANA SHAW: No! (screams) You promised me you could do it this time, Dr. Chapin! I can still hear it! Please make it stop! LAWRENCE CHAPIN: (gasps) I ... can't. DANA SHAW: (screams wildly) Yes, you can! Do it again! Do them all this time! (LAWRENCE CHAPIN, fingers barely moving and functional, puts all the levers on.) DANA SHAW: (child-like) Let me saw it, Grandpa. I know how. I watched you. Let me try it. (As he adjusts all the levers, the sound in the room strangely nulls itself out. DANA SHAW slips to the side. BAILEY takes a moment, then steps out from the shadows only to find DANA gone.) (He looks for her. DANA pulls out a syringe and jumps on BAILEY. BAILEY grabs her wrist and stops her from plunging the syringe into him. He swings her around and tosses her across the room. She falls on the floor.) (BAILEY flips her over and find that she's fallen on her own syringe. She's unmoving, eyes-wide.) (JOHN walks into the room, gun drawn. BAILEY gets to his feet and approaches DR. CHAPIN.) (BAILEY turns the machine off.) BAILEY: John, can you hear me? JOHN: Bailey! (Not hearing him, BAILEY continues to shut the machine down.) BAILEY: (shouts) John, can you hear me? John! JOHN: (quietly) Hey, hey, hey! No need to shout, all right? BAILEY: (to radio) All units, suspect has been apprehended. Send in the paramedics. (BAILEY turns around and kneels down in front of DR. CHAPIN.) BAILEY: Dr. Chapin, I'm Bailey Malone, FBI. We're gonna get you to a hospital. Your wife will be glad to see you. CUT TO: [INT. VCTF - COMMAND CENTER] (SAM walks into the office and stops in front of NATHAN'S desk.) SAM: Hey. NATHAN: Hey. SAM: I thought you still had a few days. NATHAN: Well, I started rebuilding the front end of the car, and I just lost it. Every time I walked into the barn I expected to find Jack in there. Finally I just locked up everything and said, uh, "next year." SAM: Look, you're a part of this now, and whatever he's planning to do, we can't change it. We just have to try and stop it. NATHAN: Well, I can live with it if you can. There's one thing I keep thinking about, and that's your daughter Chloe. She's got one up on me, she's seen the bastard. SAM: Well, we really don't know what she saw. NATHAN: That's my point. Look, if we're going to live with this, I think we better find out, don't you? (NATHAN turns and leaves.) CUT TO: [INT. JACK'S PLACE] (JACK drops some acid on a photo of SAM and ANGEL. When the smoke clears, ANGEL'S face has been completely burned out of the picture.) 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 1X10: SHATTERED SILENCE ORIGINAL AIR DATE ON NBC: 01/11/1997 TRANSCRIBED FROM DVD ALLY WALKER as Dr. Samantha "Sam" Waters ROBERT DAVI as Agent Bailey Malone JULIAN McMAHON as John Grant ROMA MAFFIA as Grace Alvarez MICHAEL WHALEY as Nathan Brubaker PETER FRECHETTE as George Fraley ERICA GIMPEL as Angel Brown CAITLIN WACHS as Chloe Waters Created by: CYNTHIA SAUNDERS Executive Producers: IAN SANDER Executive Producers: KIM MOSES Guest Stars PATRICIA CHARBONNEAU as Barbara Chapin WALTER OLKEWICZ PHILLIP TARZINI HERBERT MITCHELL Co-Producer: JOHN FORREST NISS Produced by: ANTHONY SANTA CROCE Supervising Producer: GEORGE GEIGER Supervising Producer: CYNTHIA SAUNDERS Creative Consultant: KEN SOLARZ Executive Producer: LARRY HERTZOG Written by: GEORGE GEIGER Directed by: SARA PIA ANDERSON ========================== END CREDITS ========================== Sanders/Moses Productions NBC Studios NBC Enterprises Also starring BUDDY FARMER as (Dr. Karl) Kronenberg JOE J. GARCIA as Escobar MORAG DICKSON as Dana Shaw SCOTT KLOES as Dr. Preistly Story Editor: JEAN GENNIS Story Editor: PHYLLIS MURPHY Casting: ANTHONY BARNAO Director of Photography: MICHAEL BONVILLAIN Production Designer: JONATHAN CARLSON Edited by: BERT GLATSTEIN, A.C.E. Main Title Theme: ANGELO BADALAMENTI Music by: JEFF RONA Unit Production Manager: ANTHONY SANTA CROCO First Assistant Director: CAROL GREEN Second Assistant Director: JEFF KAY Costume Designer: TOM McKINLEY Production Supervisor: LORIE ZERWECK Camera Operator: JAMIE MAXTONE-GRAHAM First Asst. Cameraman: BUTCH PIERSON Dolly Grip: RICK MAXEY Production Sound Mixer: KEN SEGAL Second Second Assistant Director: LAURA SYLVESTER Location Manager: ILT JONES Gaffer: VANCE TRUSSELL Key Grip: RONN COONEY Construction Coordinator: ANDREW MOORE Transportation Coordinator: STEVE ZERWECK Script Coordinator: ERNIE ORSATTI Special Effects Coordinator: LARRY FIORITO Art Director: JEREMY A. CASSELLS Art Department Coordinator: JANIENE KURI Costume Supervisor: SUSANNA T. SANDKE Set Decorator: RICHARD REAMS Property Master: BLANCHE SINDELAR Make-up Artist: KRISTINE CHADWICK Hair Stylist: LAURA DELUISA Production Auditor: BETHANY BROWN Script Supervisor: JANEL F. REEVES Production Coordinator: JANE EVERETT Assistant to Executive Producer: NICHELLE M. PROTHO Assistant to Producer: KIMBERLY DICKENS Computer Graphics: PAUL LeBLANC Video Playback: BOB MORGENROTH Insert Coordinator: CRAIG FELLER Assistant Editor: MONICA GILLETTE Post Supervisor: LYNN STEVENSON Post Coordinator: GINA LAMAR Supervising Sound Editor: PETER AUSTIN Music Editor: KIM NAVES Re-Recording Mixers: MIKE GETLIN / DEAN OKRAND / BILL THIEDERMAN Main Title: SUZANNE KILEY Telecine: MACE JOHNSON Da Vinci: RICK DALBY Optical Online: RICHARD RUSSELL / 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:01/24/2004~lky http://www.webphilia.com/~anthology/wnp.html