WITHOUT A TRACE 1X15: THERE GOES THE BRIDE ORIGINAL AIR DATE ON CBS: 02/20/2003 TRANSCRIBED FROM CBS Written by: STEVEN KANE Directed by: DERAN SARAFIAN Transcript by Intrepid Courtesy of http://www.webphilia.com/~anthology/wnp.html (Brought to you in HDTV by Samsung Digitall) Please do not archive without permission. RATING: TV-PG-L ========================== DISCLAIMER: ========================== "WITHOUT A TRACE" and other related entities are owned, (TM) and (c) by JERRY BRUCKHEIMER Television, CBS Productions, and Warner Bros. Television (an AOL Time Warner Company). All Rights Reserved. This transcript was made without their permission, approval, authorization or endorsement. Any reproduction, duplication or distribution of this material in any form is expressly prohibited. It is absolutely forbidden to use it for commercial gain. Leave the headers/disclaimers in tact because it lists all those who have made this transcript possible for your enjoyment and provide a link back to the site where this file originated http://www.webphilia.com/~anthology For corrections / inaccuracies, please contact the Transcriptionist at (intrepidly002@yahoo.com) ========================== SUMMARY: When the Bride disappears during her wedding reception, the Unit discovers more than just a missing woman, they also uncover the secrets of her trouble past ... ========================== WITHOUT A TRACE 1X15: THERE GOES THE BRIDE ========================== FADE IN [EXT. NEW YORK CITY (STOCK) - NIGHT] [INT. HOTEL BALLROOM - NIGHT] (Opening collage of various footage of: * Empty ballroom set up for the reception; * Flash to: The ballroom filled with guests; * A busy guest table; * Little girl in white dress twirling in the middle of the dance floor; * Bride and Groom arriving & waving, guests applauding; * Bride is happy and smiling; * Cut to: Black and White photo of the Bride smiling; * Cut to: Color moving film of Bride and Groom holding hands and running to take their seats at the head table; * Bride and Groom dancing; * Cut to: Black and White photo of the bride dancing with the Groom; * Cut to: Color moving film of the Bride and Groom dancing alone on the dance floor; * Bride laughing during dinner and the Groom smiling and sipping champagne. ) FLASH TO WHITE: (Series of black and white photo shots: * Bride laughing & Groom about to take a sip of champagne; * Jessica Brighton, the Maid of Honor; * The Groom with his mother; * Mr. Beckworth smiling; * The Groom with his parents) CHANGE FROM B&W STILL TO MOVING COLOR: SCENE #01: [INT. HOTEL BALLROOM - NIGHT] (MRS. BECKWORTH smiling, turns to her son.) MRS. BECKWORTH: You have never looked so handsome. CHARLES BECKWORTH: I've never been so happy. MR. BECKWORTH: Don't forget to say hello to The Beringers. They have the largest ... CHARLES BECKWORTH: ... The largest private collection of Monets on the east coast. I know that, dad. MR. BECKWORTH: Hey. I know I don't necessarily say this often enough, but I am proud of you, son. She's a terrific girl. (CHARLIE looks up, his eyes finding AUDREY ROSE across the room. She looks back at him. Their eyes meet. He smiles.) CHARLIE BECKWORTH: (softly) Yes, she is. (Camera motion slows and lingers on AUDREY ROSE as she smiles at CHARLIE and blows him a kiss.) (Right before our eyes, AUDREY ROSE vanishes.) CUT TO: SCENE #02: [EXT. SIDE WALK OUTSIDE HOTEL - DAY] (JACK crosses the street and meets up with MARTIN. They make their way to the hotel.) JACK: Nice day for a honeymoon. MARTIN: This girl disappeared at her own wedding, in front of 200 of her closest friends and family? JACK: Yeah-- 11:15 -- right after they brought out the wedding cake. Somebody found one of her shoes in the service area. MARTIN: Was it made out of glass? So who is she? JACK: Audrey Rose. Now Audrey Rose Beckworth. MARTIN: As in Rose and Beckworth auction house? JACK: Very good. The society page says this is the first big event of the season. MARTIN: You read the society page, huh? JACK: Uh-huh. Right after I read the obits. [INT. HOTEL LOBBY - DAY - CONTINUOUS] (JACK and MARTIN enter the hotel lobby and make their way toward the ballroom.) MARTIN: You going to set up a trap-and-trace at the Rose's? JACK: The bride's parents are both dead. If there's a ransom note, it's coming the Beckworths' way. MARTIN: The happy couple. (They pass by a sign in front of the ballroom with a large photo of the couple.) CUT TO: SCENE #03: [INT. HOTEL - BALLROOM - DAY -- CONTINUOUS] (JACK enters the ballroom. He meets up with SAMANTHA who is looking down at an abandoned dinner table.) JACK: Hey. SAMANTHA: Hey. JACK: What's going on? SAMANTHA: Uh, well, NYPD's covering hospitals and morgues. We've got her credit cards, but no hits so far. JACK: What about her cell phone? (They slowly make their way across the large ballroom.) SAMANTHA: Well, I'm into her records but apparently, she lost her cell phone a couple of weeks ago, and never replaced it. JACK: Strange, for a bride planning such an elaborate wedding. SAMANTHA: Yeah, I know, but from what I hear, the groom's parents were handling all the details. She was simply along for the ride. JACK: Pretty wild ride so far. SAMANTHA: Yep. CUT TO: SCENE #04: [INT./EXT. HOTEL - SERVICE AREA - DAY] (MARTIN is in the service area of the hotel getting information from an officer. NYPD CSU and officers are there also. DANNY walks up to MARTIN.) DANNY: Yo, Martin, I think we got something. (They both leave the area.) [EXT. HOTEL - SIDEWALK - DAY - CONTINUOUS] (JOSE, The Janitor, tells MARTIN and DANNY what he saw.) JOSE: I was right here. DANNY: And you saw it clearly? JOSE: Yeah, there was some guy pushing her into the backseat of the car. And I remember because she only had one shoe on. (Quick flashback to AUDREY ROSE screaming and being forced into a car.) AUDREY ROSE: Let me out! (The man pushes her inside through the driver's side and gets in after her. AUDREY ROSE sits up and looks out the window.) AUDREY ROSE: Get off of me! DANNY: (v.o.) You get a look at the plates? (The car takes off. Camera holds a beat on JOSE watching as the car drives off. End of flashback. Resume to present.) JOSE: No. MARTIN: What'd the guy look like? JOSE: I don't know, man. Kind of average. I didn't get a good chance to see his face. MARTIN: Did you see what he was wearing? JOSE: A suit, I think. MARTIN: You think? DANNY: Jose, this is important. Was it suit, was it a tuxedo? JOSE: Hey, man, look, I don't know, okay? I'm not sure, all right? I don't know. DANNY: All right. Thanks. (JOSE walks away.) MARTIN: There goes the bride. CUT TO: (AUDREY ROSE looks out the car window as it drives off.) HARD CUT TO END OF TEASER ROLL TITLE CREDITS (COMMERCIAL SET) FADE IN. [EXT. BECKWORTH RESIDENCE - DAY] SCENE #05: [INT. BECKWORTH RESIDECNE - STUDY -- DAY] (MR. BECKWORTH and MARTIN walk into the study.) MARTIN: So, if the ransom call comes in, you do whatever you can to keep them talking. Agree to all their demands and you assure them that you won't speak to the authorities. MR. BECKWORTH: Okay, sure. How soon does the call usually come in? MARTIN: Well, there's really no hard and fast rules but usually within the first 24 hours. (MARTIN sighs heavily.) MARTIN: Look, I know this sounds frightening but we want this call to come in, Mr. Beckworth. You see, usually in these ransom situations, the victim comes home safely. MR. BECKWORTH: Whatever it costs. It doesn't matter. I've already spoken to my financial people and the funds will be ready. MARTIN: We need to speak with Audrey's financial advisor as well. Who do we speak to? MR. BECKWORTH: The man you probably want to talk to is Graham Walker. He's the trust attorney for both of our families. (MR. BECKWORTH sits down.) My poor son. (MARTIN sits down.) I keep begging him to come back here and be with us, but he won't leave the hotel. CUT TO: SCENE #06: [INT. HOTEL - ROOM -- DAY] (JACK enters the hotel room. CHARLES BECKWORTH stands and holds out his hand.) JACK: Charles Beckworth? Special Agent Jack Malone. Take a seat. (CHARLES BECKWORTH sits down.) CHARLES BECKWORTH: Right now, we're supposed to be having breakfast in bed. Eggs benedict, pancakes with strawberries. We always order two dishes and then share them both. JACK: Let me guess. You'd end up eating them both. CHARLES BECKWORTH: She does, actually. She's the one with the appetite. You married? JACK: Eleven years. CHARLES BECKWORTH: That must be nice. JACK: Yep. Sometimes. Now, listen, Charles, this is a difficult question, but is there any possibility that your fiancée got cold feet and ran away? (JACK sits down.) CHARLES BECKWORTH: The police said that she was forced into a car in an alley. JACK: That was one eyewitness. It's not all that reliable. CHARLES BECKWORTH: No. No. (He stands up.) She would not have bailed in the middle of our wedding. JACK: I understand that you came up to her room just before the wedding -- Anything wrong? Any trouble? CHARLES BECKWORTH: (shakes his head) No. No, no. Not at all. She was just... she was so nervous leading up to this. Being in New York and, and planning and everything I just wanted to make sure that she was okay. (Quick flashback to the hotel room before the wedding. AUDREY ROSE puts her earrings on in the mirror. She looks up toward the door when she hears voices.) JESSICA BRIGHTON: (o.s.) Charlie, you know you're not supposed to be here. CHARLES BECKWORTH: (o.s.) Five minutes, Jessie. (JESSICA BRIGHTON enters the room and looks at AUDREY ROSE. AUDREY smiles brightly.) JESSICA BRIGHTON: Five minutes. CHARLES BECKWORTH: Thank you. (JESSICA leaves the room and CHARLES enters.) CHARLES BECKWORTH: Hi, I just wanted to get a look at you before all the chaos started. Oh, my god. You are beautiful. AUDREY ROSE: You don't look too bad yourself. CHARLES BECKWORTH: So how you doing? Are you ready? AUDREY ROSE: Completely. You? CHARLES BECKWORTH: I have to admit I'm a little nervous. (AUDREY ROSE laughs.) AUDREY ROSE: It's going to be great. Everything is going to be great. CHARLES BECKWORTH: Wow. Sounds like you picked up a dose of serenity this morning. AUDREY ROSE: You want some? CHARLES BECKWORTH: Yes, please. AUDREY ROSE: Look that way. (CHARLES looks and AUDREY kisses him on the cheek.) How's that? CHARLES BECKWORTH: That's so much better. AUDREY ROSE: Unfortunately, I have to wipe it off. CHARLES BECKWORTH: I love you. AUDREY ROSE: I love you, too. (JESSICA enters the room and clears her throat.) AUDREY ROSE: (whispers) Now get out of here. This is bad luck. CHARLES BECKWORTH: Okay, sorry. Thank you. (CHARLES leaves. End of flashback. Resume to present.) CHARLES BECKWORTH: God, I can't believe this is happening. I ... and you should see my parents. How guilty they look. I feel so badly for them. JACK: Guilty? How so? CHARLES BECKWORTH: Well, they assume that this is about them. Their money. Don't you? JACK: If it's about the money we'll know soon enough. CUT TO: SCENE #07: [INT. BECKWORTH RESIDENCE -- DAY] (MR. BECKWORTH and MARTIN continue their conversation.) MR. BECKWORTH: Audrey's father and I were best friends ... and, as you know, business partners for almost 20 years. MARTIN: So you've known Audrey since she was a baby. MR. BECKWORTH: Her mother died in childbirth. And after Arnold passed away, she came here to live with us. MARTIN: And when was that? MR. BECKWORTH: Audrey must have been eleven. MARTIN: So she lived here with you until she went off to college? MR. BECKWORTH: No, it was four years. Then she went away to boarding school, and, uh... after that, college in California. MARTIN: You know, that, uh ... must've been a bit strange -- your son marrying a woman who's almost like your stepdaughter. MR. BECKWORTH: They love each other. That's what's important. MARTIN: Are you just saying that, Mr. Beckworth? (MR. BECKWORTH stands up.) MR. BECKWORTH: It's no secret that Audrey's had her troubles. I don't think she ever recovered from her father's death. MARTIN: What kind of troubles? MR. BECKWORTH: Drinking, drugs ... running with the wrong crowd. They'd throw her out of one school, we'd get her into another. Eventually, she moved out to California to live and we lost touch ... until she and Charlie met up again out there. MARTIN: And now, you're not so sure her troubles are behind her. MR. BECKWORTH: I hope they are. For Charlie's sake. CUT TO: SCENE #08: [INT. HOTEL - SERVICE AREA -- DAY] LEGEND: 13 HOURS MISSING (DANNY walks up to SAMANTHA.) DANNY: Samantha -- Audrey's room key. The computer at the front desk keeps a log of every time the room key's used. Someone used it Friday night, 11:45. SAMANTHA: That would be Audrey returning from the rehearsal dinner, no? DANNY: I don't think she got much sleep, because the log shows that someone used it again at 3:28 in the morning. SAMANTHA: Maybe she slipped out to see the groom. DANNY: He slept at his parents' house. Got there at midnight and he never left. SAMANTHA: And you're thinking she was up to no good. DANNY: I'm thinking I had a friend whose fiancée slept with the best man the night before the wedding. SAMANTHA: Ouch. DANNY: Yep. CUT TO: WHITEBOARD TIMELINE: 3:28 AM - SOMEONE ENTERS AUDREY'S ROOM SCENE #09: [INT. FBI - MISSING PERSONS UNIT -- DAY] (VIVIAN is on a computer going through the digital video recordings of the wedding. MRS. BECKWORTH is sitting next to her.) CHARLES BECKWORTH: (on video) You know, everyone always told me, before you get married, you should live with the person first, like a trial... VIVIAN: If there's anyone you don't recognize, Mrs. Beckworth ... CHARLES BECKWORTH: (on video) I told everyone we already did that. For four years, and it worked out great. So I'm a few years older than she is so, back then, she was just like this bratty little kid, invading my space. So I didn't pay that much attention to her. But then, that day I bumped into her on the street in Berkeley, she was this fantastic woman. (On video, the guests applaud.) CHARLES BECKWORTH: (on video) And then the tables were turned. She wouldn't even return my calls at first. (AUDREY laughs) But eventually, I won her over. Or maybe just wore her down. MRS. BECKWORTH: He's so self-deprecating. AUDREY ROSE: Cheers. VIVIAN: Is that the maid of honor? MRS. BECKWORTH: Jessica Brighton. They've known each other since grammar school. CUT TO: SCENE #10: [INT. FBI - MISSING PERSONS UNIT -- DAY] (JACK is interviewing the maid of honor, JESSICA BRIGHTON.) JESSICA BRIGHTON: This is, uh ... this is just so crazy. I don't know what I can tell you. JACK: Did you see Audrey after the rehearsal dinner? JESSICA BRIGHTON: Uh, no. I offered to spend the night with her, but she said she wanted to be alone. JACK: In what frame of mind would you say she was in? JESSICA BRIGHTON: To be honest, she's been more and more unhappy the last few months. JACK: Would you say she was having second thoughts? JESSICA BRIGHTON: No. I-I think it was just being back in New York. JACK: Anything particular about being back in New York? JESSICA BRIGHTON: She was pretty wild when she lived here. JACK: What? Parties, drugs? JESSICA BRIGHTON: Well, yeah. It's not like she had a real problem. She, she could just overdo it a bit. JACK: You think she got back into the life when she came here? JESSICA BRIGHTON: No. She straightened herself out. JACK: Does her husband know? JESSICA BRIGHTON: Sure. Of course, but ... it's not like she's a drug addict or anything. She was just a little ... wild. JACK: Right. You said that. She have any old boyfriends? JESSICA BRIGHTON: Charlie was pretty much the only boyfriend she ever had. JACK: Really? JESSICA BRIGHTON: Um, unless you count Stanton. JACK: Stanton. Who's Stanton? JESSICA BRIGHTON: He was this real loser we knew back in prep school. He was everyone's coke connection. Audrey dumped him when she left for California, but they sort of remained friends. JACK: And she invited him to the wedding? JESSICA BRIGHTON: Audrey only invited him as a gesture. He works in London, so she never thought he'd come. He took off kind of early, but you should've heard the speech he gave at the rehearsal dinner. (Quick flashback to the rehearsal dinner. STANTON clinks his glass and stands up, drawing everyone's attention. AUDREY ROSE looks up. He clears his throat.) STANTON: Audrey and I met while skinny-dipping. JESSICA BRIGHTON: I can't believe you invited him. AUDREY ROSE: I can't believe he came. STANTON: We weren't together. We just sort of swam into each other, if you know what I mean. We shared a towel and became fast friends. But seriously, Audrey is truly one of the great people. She's kind, she's honest she's generous. And she does one hell of a backstroke. (Light, weak and polite applause as he finishes. STANTON sits down. End of flashback. Resume to present.) CUT TO: SCENE #11: [INT. FBI - MISSING PERSONS UNIT -- DAY] JACK: Some toast. Sounds like a bad night in the catskills. STANTON: Yeah, I admit I was a little effusive at the rehearsal dinner. I was just messing around. DANNY: What time did Audrey come to your hotel room that night? After 2:00 A.M.? STANTON: What are you talking about? JACK: You booked yourself a room in the hotel for the entire weekend, when you have an apartment here in the city. STANTON: Is that a crime? DANNY: She's a little freaked out about getting married, so she comes to your hotel room to blow off some steam, right? JACK: We found traces of cocaine in your room. Now, I might be willing to work out a little deal about that later, but if we find her fingerprints in that room, your life just got a lot tougher. (Glances at DANNY before answering.) STANTON: Yeah. She came to see me. (Quick flashback to the hotel room. AUDREY ROSE is pacing the floor as STANTON prepares the lines of coke on the table.) (STANTON takes in a line. AUDREY paces nervously.) STANTON: What's with you? Sit down. AUDREY ROSE: I'm fine. It's cool. STANTON: Come on. (sets up a line for her) Here. For old times. (AUDREY picks up the rolled up bill on the table.) AUDREY ROSE: I don't know what I'm doing. STANTON: Getting cold feet? AUDREY ROSE: No. It's just ... there are some things that I need to tell Charlie. STANTON: Ah, so, little Charlie doesn't know what a bad girl you are. AUDREY ROSE: No, he doesn't. (He chuckles. She sits down on the bed.) AUDREY ROSE: Although after that toast ... (He laughs.) STANTON: Sorry if I got a little carried away. (she smiles a little) You don't have to do anything you don't want to. You know that, right? AUDREY ROSE: No, it's not that. STANTON: Come on. (he stands up and sits next to her on the bed.) You're not ready for the white picket fence. You're a party girl. You need to be with someone who gets you. (STANTON kisses her on the cheek. He then leans in to kiss her on the lips, but she pulls away from him.) AUDREY ROSE: Come on, Stanton. STANTON: What? (AUDREY ROSE hands him the rolled up bill.) AUDREY ROSE: I'll see you tomorrow. (She stands up to leave. End of flashback. Resume to present.) STANTON: I got to tell you, after the way she was that night, fifty-fifty, she'll do a mad dash before the wedding. Then I saw her up there with Charlie, she seemed like she knew what she was doing. DANNY: You didn't help her with this mad dash? STANTON: No way, man. I took off at 10:00. JACK: Where'd you go? STANTON: The lobby bar. I ran up quite a tab. You can ask the bartender. JACK: I will. CUT TO: WHITEBOARD TIMELINE: 2:15 AM DBD - GOES TO SEE STANTON [EXT. NEW YORK CITY (STOCK) - DAY] SCENE #12: [INT. HOTEL LOBBY -- DAY] (MARTIN and SAMANTHA meet with the WEDDING PLANNER.) MARTIN: So you planned all the events surrounding the wedding? WEDDING PLANNER: Everything, from the ballroom to the flowers to the ring pillows. SAMANTHA: Did Audrey show any signs of stress prior to the wedding? WEDDING PLANNER: You're kidding, right? She was getting married. MARTIN: Well, we thought sometimes the bride tells the wedding planner things that she won't tell anyone else. WEDDING PLANNER: Oh, believe me, I am half mother, half shrink. It's just part of my job. You know, I do remember something. It was about two weeks ago. We were doing a walk-through. (Quick flashback. The hotel ballroom doors open. AUDREY ROSE and the WEDDING PLANNER walk in.) WEDDING PLANNER: So what do you think? AUDREY ROSE: It's beautiful. WEDDING PLANNER: Just wait till my lighting guys are through with it. AUDREY ROSE: Yeah. WEDDING PLANNER: Hey, listen, I know that you wanted a smaller ceremony, but I promise you this is going to be so special. AUDREY ROSE: I know it is, and you're doing a great job. WEDDING PLANNER: Aw, and Charlie really loves you you can see it in his eyes. AUDREY ROSE: Yeah, I'm very lucky. (AUDREY ROSE'S cell phone rings. She answers it.) AUDREY ROSE: Hello? (pause) No. Stop calling me. (pause) We have nothing to talk about. Just leave me alone! (End of flashback. Resume to present.) WEDDING PLANNER: I think it was just an ex-boyfriend or something, but she certainly didn't want to talk about it. (The WEDDING PLANNER'S cell phone rings.) WEDDING PLANNER: Now it's my turn. MARTIN: Go ahead. Thanks for you help. (She leaves to answer her phone.) MARTIN: Oh, I guess we know why she lost her cell phone. SAMANTHA: Yeah, but that sounds a lot more than just an ex-boyfriend. That sounds like someone could have been stalking her. CUT TO: WHITEBOARD TIMELINE 2 WKS BD - PHONE CALL FROM STALKER? FADE OUT. (COMMERCIAL SET) FADE IN. [EXT. NEW YORK CITY (STOCK) - DAY] LEGEND: 19 HOURS MISSING SCENE #13: [INT. FBI - MISSING PERSONS UNIT -- DAY] (MARTIN and SAMANTHA fill JACK in on their Stalker Theory. A layout of the hotel ground floor is spread out on the table in front of them.) SAMANTHA: If she knew that guy, that would explain how he got her out there. MARTIN: We're thinking he shows up at the reception, wants to talk to her, she doesn't want to be seen with him and that's how they end up in the service area. SAMANTHA: Which is right off the ballroom. He can plan to lead her there easily. MARTIN: Right. Once he's got her there, forces her down the hall with a gun and then out into the alley. SAMANTHA: Where a getaway car is waiting. JACK: How does Stanton's alibi hold up? SAMANTHA: Uh, well, the bartender remember serving him drinks until after midnight. JACK: So it might not be about the money. MARTIN: Yeah, his father was concerned about her past. JACK: According to the groom, she was an angel. MARTIN: I guess love is blind. (beat) And deaf. (beat) And very, very dumb. JACK: Spoken like a true romantic. MARTIN: (looks at JACK) What? You going to tell me he's still buying into it? JACK: Sure-- marriage, kids, the whole nine yards. (He clarifies upon MARTIN'S pointed look.) I didn't say I was good at it, I just said I was a fan. SAMANTHA: Graham Walker is here. Trust attorney for the auction house. You want me to take it? JACK: No, I got it. Keep combing her phone records, talk to friends. Somebody's going to know something about the stalker. MARTIN: Right. CUT TO: SCENE #14: [INT. FBI - MISSING PERSONS UNIT -- DAY] (JACK interviews GRAHAM WALKER.) JACK: I was hoping that you might be able to fill me in on some of the details of Audrey's finances. GRAHAM WALKER: I can certainly give you the broad strokes. Mr. Rose and Mr. Beckworth drafted a standard trust agreement when they founded the company. When Mr. Rose passed away, his share of the company went into a lifetime trust for Audrey. JACK: What did the trust stipulate? GRAHAM WALKER: Well, it's, it's pretty standard stuff really. She has no say in the business, but she receives a healthy share of the quarterly profits. JACK: So, she didn't have any financial difficulties? GRAHAM WALKER: Well, no, not until recently. (Quick flashback to AUDREY ROSE on a pay phone.) AUDREY ROSE: Mr. Walker. Hi, it's Audrey Rose. INTERCUT WITH: (GRAHAM WALKER in his office.) GRAHAM WALKER: Hey, Audrey. What can I do for you? AUDREY ROSE: I need some money. GRAHAM WALKER: Is something wrong? AUDREY ROSE: No, everything's fine. It's for an investment. GRAHAM WALKER: Oh. How much do you need? AUDREY ROSE: $25,000. GRAHAM WALKER: (takes off his glasses and leans back) What kind of investment is this? AUDREY ROSE: Look, it's with a friend. GRAHAM WALKER: Well, I'm sorry, Audrey, but for a loan that size, I'd have to talk to Mr. Beckworth. AUDREY ROSE: No. Please. Don't tell him. GRAHAM WALKER: Why don't you come down to my office so we can talk about this in person. AUDREY ROSE: I can't. Look, I'm sorry to bug you. Thank you. (AUDREY drops the phone. End of flashback. Resume to present.) JACK: When was this? GRAHAM WALKER: About ten days ago. JACK: And you didn't tell Mr. Beckworth about it? GRAHAM WALKER: No, no, I kept her confidence. But I couldn't figure out why she didn't want Mr. Beckworth to find out. CUT TO: WHITEBOARD TIMELINE: 10 DBD - BEGS TRUST ATTORNEY FOR $25,000 SCENE #15: [INT. BECKWORTH RESIDENCE -- DAY] (JACK is interviewing CHARLES BECKWORTH. CHARLIE is sitting on the sofa and JACK is stand up behind it.) CHARLES BECKWORTH: I can't imagine why she would need $25,000. JACK: It's because she's been blackmailed. CHARLES BECKWORTH: What? That's crazy. For what? JACK: We're not sure, but she was definitely being harassed. CHARLES BECKWORTH: Oh, my god. JACK: Charlie, you've been less than up-front with me. You didn't tell me that she didn't want to come back to New York. You didn't tell me about how much trouble she had in the past or her problem with drugs. CHARLES BECKWORTH: She experimented with cocaine when she was sixteen, okay? Who didn't? JACK: You know that guy Stanton? CHARLES BECKWORTH: Yeah. JACK: He was her drug connection. She went up to his room the night before your wedding. CHARLES BECKWORTH: Who told you that? JACK: He did. CHARLES BECKWORTH: And he said what? That they slept together? JACK: According to him, no. But that's not the point. The point is, there was a lot more going on in her life than you seem to know. Just like I think there's a lot more going on in your life than you're telling me. CHARLES BECKWORTH: I don't know anything. JACK: Come on, there must have been something, some kind of sign. CHARLES BECKWORTH: Did she have a fling? Maybe. I don't know. JACK: You keep referring to infidelity. What's that about? All right, look. I-I-I don't know how this is going to help you, but here goes: Last Sunday, we went ice-skating at the park. (Quick flashback to AUDREY and CHARLIE sitting side by side on the bench tying on their skates.) CHARLES BECKWORTH: (laughs) I hadn't done this in years. I'm going to make such a fool of myself. AUDREY ROSE: (seriously) Charlie. CHARLIE BECKWORTH: Yeah. AUDREY ROSE: There's something I need to tell you. I did something. Something that I wish I could take back. (pauses in a moment of panic) Oh, god. I don't know how to say this. CHARLIE BECKWORTH: Hey, hey. Just ... just tell me this. Do you love me? AUDREY ROSE: Yes. Of course. With all my heart, yes. CHARLIE BECKWORTH: Then... you don't have to tell me anything. Okay? (He kisses her on the cheek and holds her as she cries. End of flashback. Resume to present.) JACK: And you didn't want to hear what she had to say? CHARLIE BECKWORTH: When I was in college, I cheated on my girlfriend once. And I was so wracked with guilt about it that I felt like I had to tell her. I was in love with that girl and it ruined everything. JACK: But, Charlie, this is your fiancée. CHARLIE BECKWORTH: I'm the one that dragged her back to New York, okay, for my career, to be near my friends and my family. If she ... if she did something stupid if she acted out a little bit, I was not going to let that come between us. She has issues with men; it goes back to her father's death and not having him around. JACK: And you're going to do what? Heal that? CHARLIE BECKWORTH: I'm going to be patient and understanding, because what's underneath all her insecurity is this ... this ... beautiful, brilliant, generous soul ... and you'd think, you'd think that makes me a sap ... JACK: No. Quite the opposite. CUT TO: [EXT. NEW YORK CITY (STOCK) - NIGHT] LEGEND: 20 HOURS MISSING SCENE #16: [INT. FBI - MISSING PERSONS UNIT - HALLWAY -- NIGHT] (VIVIAN walks out into the hallway carrying two cups of coffee. She sees MRS. BECKWORTH standing in the hallway, also. She hands her one of the coffee cups.) VIVIAN: Hey, you escaped. MRS. BECKWORTH: Ah. Oh. Thank you. VIVIAN: So, what was Audrey like growing up? MRS. BECKWORTH: Oh, she was just this great kid full of life and energy and so artistic. I remember, she used to run around at Thanksgiving, and she'd done this ... fingerpaintings, and she would pass them out as prizes. VIVIAN: That's when she was a little girl? MRS. BECKWORTH: Yes. VIVIAN: And how was she when she moved in with you? MRS. BECKWORTH: Well, then, she would have been eleven. It was right after her father died, and ... I guess that's when thins started to change ... and ... she, uh, she turned inward ... really, and ... kept everything to herself. You know, I think I'm just, I'm getting really tired. It has been a really long day. VIVIAN: Sure, of course. MRS. BECKWORTH: Um, maybe I could go home for a while, you know, when ... we could pick this up later or in the morning. VIVIAN: I tell you what, if we could just go through this next tape, it would be a real help to me. MRS. BECKWORTH: (sighs) All right. (They both make their way back to the room.) CUT TO: SCENE #17: [INT. FBI - MISSING PERSONS UNIT -- NIGHT] (SAMANTHA walks into the room toward DANNY, who is sitting behind his work area. She's carrying a sheath of papers.) SAMANTHA: Danny, I got the info on Audrey's cell phone. Tons of calls from the same phone number. A call comes in, then another call back a minute later, then again ten minutes later, consecutive days. DANNY: Does it match the time the wedding planner gave you? SAMANTHA: Yes it does. DANNY: Get the number? (SAMANTHA pulls out a sheet of paper and hands it to DANNY.) SAMANTHA: Yup. It is registered to a Raymond Yates. DANNY: Nice. Then we have a social. SAMANTHA: Uh-huh. (DANNY turns to the computer to enter the information in.) CUT TO: SCENE #18: [INT. FBI - MISSING PERSONS UNIT -- NIGHT] (MRS. BECKWORTH and VIVIAN go through more recordings of the wedding.) (DANNY enters the room and hands MRS. BECKWORTH a piece of paper with a mug shot on it. VIVIAN looks at the photo over her shoulder.) DANNY: Excuse me. Do you know this guy? MRS. BECKWORTH: He looks familiar. VIVIAN: He was on one of the tapes; I saw him. MRS. BECKWORTH: At the wedding? VIVIAN: Uh-huh. I remember, he was one of the only guys not wearing a tux. CUT TO: SCENE #19: [INT. YATES' RESIDENCE -- NIGHT] (There's a knock at the door. BRAD stand up and answers it. He opens the door.) JACK: Raymond Yates? BRAD: No, man, I'm ... Brad. JACK: Hey, Brad. Is Raymond here? BRAD: Uh, I haven't seen him in a couple weeks.... couple days. Who are you? JACK: FBI. MARTIN: You don't mind if we come in and take a look around, do you, Brad? BRAD: I don't know. What are you looking for? JACK: Does that look like a water pipe to you, Agent Fitzgerald? MARTIN: Oh ... certainly looks like one. JACK: Maybe you need to have a look around upstairs. (MARTIN heads up stairs.) BRAD: Hey, don't you need a warrant? (JACK holds up the bag of drugs.) JACK: Shut up, Brad. CUT TO: SCENE #20: [INT. YATES' RESIDENCE - UPSTAIRS -- NIGHT] (MARTIN walks into the bedroom. He sees the mussed up bed. He looks on the shelves and around the room. Near the television set, he sees a box of video tapes. Each tape label has the name of a different girl on it. MARTIN finds a video tape labeled "Audrey".) (He tosses the tape back in the box and picks the entire box up. He exits the room.) CUT TO: SCENE #21: [INT. YATES' RESIDENCE - DOWN STAIRS - NIGHT -- CONTINUOUS] (MARTIN walks down the stairs carrying the box of video tapes.) MARTIN: Okay, we got Sara, Heather, Shauna, Anita, Teresa, Audrey ... home movies? BRAD: I ain't got nothing to do with any of that stuff, man. (MARTIN puts the "Audrey" tape in the machine. It has a view of the bed. AUDREY is sitting on the bed. RAYMOND YATES: Well ... the maid comes in next week ... AUDREY ROSE: Yeah, it smells like it, too. (RAYMOND YATES walks up to the video camera and checks to see that it's on. He winks at the camera.) (MARTIN turns to look at JACK. Now they know what she was being blackmailed for.) (RAYMOND YATES and AUDREY ROSE are on the bed. Camera lingers on the video.) FADE TO BLACK. (COMMERCIAL SET) FADE IN. SCENE #22: [INT. YATES' RESIDENCE - KITCHEN -- NIGHT] LEGEND: 21 HOURS MISSING (MARTIN and JACK question RAYMOND YATES' roommate, BRAD. They're all sitting at the kitchen table.) BRAD: He came home with her one night about a month ago, maybe. She was pretty plastered. Ray only hits on girls that are already drunk. Guess it increases his odds. JACK: You ever see her before? BRAD: I never would have seen her, except I happened to be up at 4:00 in the morning. (Quick flashback to BRAD sitting on the couch watching a B-rated Sci-Fi moving on television. AUDREY ROSE comes down the stairs.) BRAD: Hi. (She grabs her things.) AUDREY ROSE: (to BRAD) Did you see my skirt? (she looks at BRAD.) AUDREY ROSE: (upset) I think it ... it's behind your head. (BRAD reaches behind him and finds the skirt. He hands it to her.) BRAD: Oh. (She puts the skirt on.) AUDREY ROSE: Where am I? BRAD: What do you mean? AUDREY ROSE: What part of town? BRAD: Brooklyn. AUDREY ROSE: Oh, god. (AUDREY ROSE grabs her things and leaves. End of flashback. Resume to present.) MARTIN: You think Audrey knew she was being videotaped? BRAD: No way. Ray always hides the camera. JACK: Did he see her again? BRAD: No. He was pretty stoked when he found out she was a debutante and all. He saw her picture in the paper. She wasn't like the skanks he usually picks up on. JACK: What? BRAD: I just mean you could tell she was classy. JACK: Does Ray have any family? BRAD: Yeah. He's got a brother, Kevin. Lives in Jackson Heights, I think. CUT TO: [EXT. NEW YORK CITY (STOCK) - DAY] LEGEND: 33 HOURS MISSING SCENE #23: [INT. BECKWORTH RESIDENCE - STUDY -- DAY] (CHARLES BECKWORTH sits in front of the television set watching the video. He has a stunned look on his face.) (The video tape pauses.) JACK: ... do you know this guy? CHARLES BECKWORTH: No. JACK: You sure? CHARLES BECKWORTH: Yeah. (CHARLES stands up.) JACK: He was at your wedding. CHARLES BECKWORTH: There were over two hundred people at the wedding. I-I never saw him. JACK: I'm really sorry, Charlie. Sorry that you have to find out about it this way. CHARLES BECKWORTH: I don't understand. If this is about money, then why hasn't this guy called in with a ransom? JACK: We're not sure. CHARLES BECKWORTH: That's what she was trying to tell me at that skating rink, and I didn't let her. JACK: What could you have done? CHARLES BECKWORTH: I don't know. Protected her ... ? JACK: It's the "Young Man's" disease. CHARLES BECKWORTH: What's that? JACK: Damsel in distress. She needed to be saved, you need to save somebody. Generally speaking, it's a no-win situation. CHARLES BECKWORTH: People always tell me that I'm so much like my mother; I'm always trying to see the good in people. (Behind them, MR. BECKWORTH enters the room.) CHARLES BECKWORTH: Sometimes I think I'm just burying my head in the sand so I don't have to face what's really out there. I wasn't protecting her, I was afraid of what she was going to tell me. MR. BECKWORTH: Charlie. Are you all right? (JACK stands up. Camera holds on CHARLIE.) CUT TO: SCENE #24: [INT. FBI - MISSING PERSONS UNIT -- DAY] (While SAMANTHA is on the phone waiting, DANNY fills both her and VIVIAN in.) DANNY: Just spoke to Jack. Nobody at the Beckworth house has ever heard of Ray Yates. SAMANTHA: (to phone) You got it? (pause) No ... yeah, great. Bring him in. (hangs up phone) Okay. (to DANNY and VIVIAN) Well, we got Yates's brother. They're bringing him in. DANNY: Yes. CUT TO: SCENE #25: [INT. FBI - JACK'S OFFICE -- DAY] (JACK sits behind his desk questioning KEVIN YATES.) JACK: We have reason to believe that your brother was involved in a kidnapping. KEVIN YATES: No, no way. My brother's not that stupid. JACK: Yeah, he is, and I think you know he is. KEVIN YATES: (sighs) Aw, man ... JACK: Come on, what do you know? KEVIN YATES: I don't see my brother for months and months, and Saturday morning, he called me. Said he needed me for something, said he'd pay top dollar. JACK: He say what it was? KEVIN YATES: I wouldn't even let him. I'm not interested. Look, I'm no saint. I got my share of troubles, but I got a family now. JACK: Let me ask you something: You care about your brother? (Camera holds on KEVIN YATES looking at JACK.) SHORT TIME CUT TO: SCENE #26: [INT. FBI -- DAY] (KEVIN YATES is sitting at a table, a telephone hook up being set up on it in front of him. He holds a pair of headphones.) JACK: Stay calm. Try not to get him upset. KEVIN YATES: What am I supposed to say? JACK: He trusts you. Tell him you're going to help him out of a tough situation. KEVIN YATES: He's got caller ID. He's gonna know it's not me. JACK: We're gonna make it look like it comes from your house. He won't know the difference. KEVIN YATES: And you can trace it to his exact location? JACK: If you can keep him on the phone long enough, yeah. (KEVIN YATES sighs. The computer dials the phone. RAYMOND YATES answers it.) INTERCUT WITH: RAYMOND YATES: Kevin? KEVIN YATES: What's up, brother? Where are you? RAYMOND YATES: Kev, you've changed your mind. That's good because I got myself into kind of a situation here. Things pare pretty messed up. (In the background, AUDREY ROSE is tied up. She struggles with her bonds.) KEVIN YATES: What are you doing? RAYMOND YATES: I knew you'd come through. Hey, listen, uh ... ca-can you, uh ... (RAYMOND stops when someone pounds on the door. He looks at the door.) (Cut to the FBI and everyone listening over the phone.) KEVIN YATES: Ray, why don't you tell me where you're at and I'll come and get you. (Knocking continues.) RAYMOND YATES: Hey, man, I can't really talk right now. KEVIN YATES: What's the matter? What's going on? RAYMOND YATES: Somebody's here; I got to go. KEVIN YATES: Ray, tell me where you are. (AUDREY ROSE starts to scream. The pounding on the door continues.) RAYMOND YATES: Shut up! Shut the hell up! KEVIN YATES: Ray! (The phone is disconnected.) JACK: (to the Tech) Did you get it? Do you know where he is? TECH: East village. JACK: Did your brother ever live down there? Did he work down there? KEVIN YATES: I don't know. He was a bar back at McCale's for, like, six years but they closed that down about six months ago. (Camera close up of the computer screen as it focuses in on EAST VILLAGE. It moves even closer on "Tompkins Square Park".) HARD CUT TO: SCENE #27: [INT. McCALES PUB -- DAY] (OFFICERS and AGENTS burst in through the front door, their weapons drawn as they rapidly sweep through the place.) AGENT: FBI! Get down now! AGENT: Okay, I got two down. (JACK, SAMANTHA and MARTIN walk in.) JACK: So is Yates. OFFICER: (b.g.) All clear here. No sign of the girl. (JACK reaches down and checks YATES for a pulse.) JACK: (about YATES) He's dead. MARTIN: So is this one. (MARTIN flips over the body and looks for identification.) (SAMANTHA opens the briefcase and finds it full of cash.) SAMANTHA: Well, this looks like a payoff gone bad. (MARTIN finds the dead man's wallet.) MARTIN: Oh, hello. JACK: What have you got? MARTIN: This guy's Tom Walsh, deputy chief of security for Rose and Beckworth auction house. (MARTIN hands the ID to JACK.) JACK: What the hell is he doing here? FADE OUT. (COMMERCIAL SET) FADE IN. SCENE #28: [INT. FBI - MISSING PERSONS UNIT -- DAY] LEGEND: 37 HOURS MISSING (MR. BECKWORTH is at the conference table. JACK is questioning him.) MR. BECKWORTH: Tom is dead? JACK: Yes. MR. BECKWORTH: What about Audrey? JACK: We don't know where she is. Do you? MR. BECKWORTH: What are you implying? JACK: You neglected to tell us that you got a phone call from the kidnappers and that you were paying a ransom. MR. BECKWORTH: They said that they would kill her. JACK: And you thought ... your extensive knowledge of selling Ming vases would help you prevent that? MR. BECKWORTH: I was stupid. Obviously, it didn't work out the way I had hoped. JACK: When did they call? MR. BECKWORTH: A few hours after she was taken. Before you arrived. JACK: I need to know exactly what time on what phone. MR. BECKWORTH: I guess it was around 4:30. On my home phone. JACK: And they said what? MR. BECKWORTH: They said to send someone with $20,000 to McCale's pub at noon today. JACK: What was your plan? Have Walsh kill the kidnappers? Not pay the ransom? MR. BECKWORTH: (sighs) No, of course not. I don't know what he was thinking. I suppose he was trying to play the hero. JACK: Does Charlie know? MR. BECKWROTH: Charlie's in no shape to deal with this. JACK: I think you need to go home and tell him. I think he might like to know. (MR. BECKWORTH stands up and puts on his coat.) (DANNY pushes his chair back from his desk and looks over at JACK, a question in his eyes.) (MR. BECKWORTH leaves the offices.) (JACK nods to DANNY. Yes.) (DANNY gets up from his seat and follows MR. BECKWORTH out of the office.) CUT TO: SCENE #29: [INT. McCALE'S PUB -- DAY] (MARTIN and SAMANTHA process the crime scene. MARTIN walks out toward SAMANTHA carrying a bowling ball bag. She's kneeling next to something and examining something else. She looks up when MARTIN approaches her.) MARTIN: Look what I found stashed in a hole on the bathroom wall. There's almost twenty grand in here. (MARTIN pulls out a stack of bills to show her.) SAMANTHA: Does it belong to Yates? MARTIN: Yeah. Wallet was thrown in, too. (SAMANTHA stands up.) SAMANTHA: And then Walsh shows up with another $20,000? MARTIN: Convenient number. SAMANTHA: Unless Walsh wasn't bringing a ransom. Unless Walsh was bringing a payment. MARTIN: For a kidnapping. That would make this the down payment and that would be for delivery. (MARTIN points to the second suitcase of money.) SAMANTHA: In which case, Walsh was the accomplice. He was the one driving the car that night. MARTIN: Yeah, he must have been at the wedding. Which would have made it easy for him to slip out. SAMANTHA: Then who killed Walsh? MARTIN: Must have been Audrey. She could have been hiding behind these pallets or behind the bar. She comes over here and grabs Ray's gun. SAMANTHA: Gutsy girl. MARTIN: Hey, but you know, that would have been in self-defense, and if that's the case, why hasn't anyone heard from her yet? SAMANTHA: And here's the other thing: How does a slimy sex video blackmailer end up as one-half of a kidnapping team? MARTIN: Well, we know that she couldn't pay him, so he goes after the wealthy father-in-law. A videotape like that's not too cool for the society page. SAMANTHA: Then Beckworth turns around and hires him to kidnap her at the wedding? Seems like an awfully long way to go to cover up a sex scandal. MARTIN: Well, Beckworth wanted her out of the picture for some reason. I think he wanted her dead. (SAMANTHA looks surprised at the conclusion.) CUT TO: SCENE #30: [INT. FBI - MISSING PERSONS UNIT -- DAY] (JACK is on the phone. He's walking out of the office with VIVIAN.) JACK: (to phone) No, we can't arrest Beckworth yet. We don't have enough to make an arrest. Yeah. (he hangs up) Beckworth just left the auction house, made a stop at the bank and left with a suitcase. VIVIAN: On his way to Rio. JACK: (to VIVIAN) Is there any chance that Mrs. Beckworth knows what her husband's up to? VIVIAN: I don't think so, but I think I do know what's going on with this family. JACK: You want to fill me in? VIVIAN: Still a hunch. I'll see what I can get out of her. JACK: Let me know. (VIVIAN heads down the hallway back to MRS. BECKWORTH.) CUT TO: SCENE #31: [INT. FBI -- DAY] (On the rehearsal dinner video tape. MR. BECKWORTH stands to make a speech.) MR. BECKWORTH: (on video) Anyone who knows me knows that I can be a pretty tough guy. But when Charlie was born, I said to myself, this is it. I understand now why I'm here -- to love this boy ... to care for this boy, to teach this boy. And now when I look at him, I think I've done a pretty darn good job. (On video, the audience laughs some. MR. BECKWORTH takes a sip from his glass. CHARLIE stands up and gives his father a hug. AUDREY ROSE isn't smiling.) (Neither is MRS. BECKWORTH as she watches the video.) CHARLIE BECKWORTH: (on video) Thanks, dad. MR. BECKWORTH: (on video) And, um, now ... he has someone else to love him and care for him ... and maybe even teach him a thing or two. And I must say I couldn't be more delighted to be able to share these duties with Audrey -- the daughter I never had ... (he puts a hand on her head) (MRS. BECKWORTH looks very uncomfortable as she watches the video tape.) MR. BECKWORTH: (on video) ... but always loved like one. (On tape, he leans in and kisses her forehead.) CHARLIE BECKWORTH: (on video) Hear, hear. (VIVIAN glances at MRS. BECKWORTH, who looks more than uncomfortable watching the tape.) (On tape, the audience applauds.) MRS. BECKWORTH: (to VIVIAN) I-I don't understand. Why am I watching this? VIVIAN: Because something in this family isn't right, Mrs. Beckworth. MRS. BECKWORTH: I don't ... I don't know what you're talking about. VIVIAN: What happened between your husband and Audrey when she came to live with you? You do realize that all her problems -- the drugs, the sex -- it's all about whatever happened in your house. Your husband hired a man to kill Audrey. (This is news to MRS. BECKWORTH. She turns to look at VIVIAN.) VIVIAN: Do you want to live with a man that does that kind of thing? And what about your son? Tell me, Mrs. Beckworth. I know you know ... MRS. BECKWORTH: I didn't. I swear I didn't ... not until ... that night. Not until then ... (Quick flashback to MR. BECKWORTH speaking with AUDREY ROSE.) MR. BECKWORTH: I was just being nice. What's your problem? AUDREY ROSE: I mean it -- don't touch me again. (MRS. BECKWORTH rounds the corner and hesitates. She listens in on the conversation.) MR. BECKWORTH: Oh, come off it. We're family now. AUDREY ROSE: I'm going to tell Charlie. I'm going to tell him everything. MR. BECKWORTH: Come on. He'll never believe you. I ... I don't even believe you, and I was there, wasn't I? AUDREY ROSE: In Italy, when we're away from here, I'm going to tell him what you did to me. He'll have two weeks to believe me. MR. BECKWORTH: He'll hate us both. AUDREY ROSE: Not me. I'm wiping the slate clean. MR. BECKWORTH: You're going to do no such thing. Not after what I did for you. He came to me -- that Ray, with your lovely videotape. I paid him off. AUDREY ROSE: Why would you do that? MR. BECKWORTH: Because I knew if that ever got to Charlie you'd have nothing to lose, and then you'd tell him everything. (MRS. BECKWORTH turns away.) So ... why don't we just agree that we've got something to hide and leave it at that. AUDREY ROSE: I'm telling him. After the wedding. And you won't see either of us again. (AUDREY ROSE walks away from MR. BECKWORTH.) MR. BECKWORTH: Audrey ... (End of flashback. Resume to present.) MRS. BECKWORTH: (upset and angry) I ... I think back now and I should have known. All those times, I ... I went to bed and he stayed up, and ... how he insisted that her bedroom be downstairs. Oh, that bastard! What he must have been doing to her. (She takes a breath.) MRS. BECKWORTH: (crying) How ... how couldn't I have seen it? I should have seen it. That poor little girl. I mean, she was my responsibility. VIVIAN: (sighs) Mrs. Beckworth, we're going to arrest your husband. We're going to need you to testify. (MRS. BECKWORTH nods.) CUT TO: SCENE #32: [EXT. BECKWORTH RESIDENCE -- DAY] (JACK pulls up front of the residence. He gets out of the car and meets up with DANNY. VIVIAN also gets out of the car.) DANNY: He just got here five minutes ago. JACK: Any word on Audrey? DANNY: No, not yet. (They make their way to the front door. As they climb up the front stairs, they hear a loud crash coming from inside.) CHARLIE BECKWORTH: (v.o.) Audrey, no! Put the gun down! (Pulling out their weapons, they enter the residence.) CUT TO: SCENE #33: [INT. BECKWORTH RESIDENCE - STUDY - DAY -- CONTINUOUS] (JACK enters the room first, DANNY and VIVIAN follow. They disburse and surround AUDREY. AUDREY ROSE has an unsteady gun pointed at MR. BECKWORTH.) JACK: FBI! Put the gun down. AUDREY: Get away from me! JACK: Audrey, put the gun down now. AUDREY ROSE: He tried to kill me! MR. BECKWORTH: It's not the truth. AUDREY ROSE: (crying) He hired Ray to kill me, and now Walsh! CHARLIE BECKWORTH: Audrey, please. AUDREY ROSE: (to MR. BECKWORTH) You tell them! You tell them what you did to me. JACK: Audrey, we know everything. Put the gun down. MR. BECKWORTH: She's crazy. They were waiting here for me. She told him some insane story, and she's been waiting here to kill me. AUDREY ROSE: I won't kill you if you ll your son the truth. CHARLIE BECKWORTH: Audrey, put the gun down. Audrey, Audrey, please. Listen, I-I-I believe you, okay? I love you. And we'll get through this. Just please, put the gun down, please. Please. Just give me the gun, okay? (AUDREY ROSE slowly puts the gun down as CHARLIE inches his way toward her. CHARLIE reaches out and ever so slowly, takes the gun from her. Sobbing, she finally gives the gun to CHARLIE.) (VIVIAN puts her arms around AUDREY and pulls her aside.) (Thinking it's over, DANNY also puts his gun down.) (CHARLIE swings around, lifts the gun at his father ... ) JACK: Whoa! ( ... and fires.) (The bullet hits MR. BECKWORTH in the shoulder sending him back against the couch. JACK grabs ahold of the smoking gun in CHARLIE'S hands and wrestles the grieving man to his knees for possession of the weapon.) AUDREY ROSE: (b.g.) Charlie! (JACK and DANNY get the gun away from CHARLIE. He's on the ground as they subdue him. MR. BECKWORTH falls backward onto the couch.) (CHARLIE looks up at his father, anger, disgust and loathing on his face.) CHARLIE BECKWORTH: You son of a bitch! You sick son of a bitch! MR. BECKWORTH: (reaching a bloodied hand out to his son) She's lying, Charlie. How could you believe her and not me? CHARLIE BECKWORTH: (angry) Go to hell. You go to hell! (VIVIAN escorts AUDREY ROSE out of the room. She turns and looks back at CHARLIE.) AUDREY ROSE: Charlie ... MR. BECKWORTH: (pleading) She's lying, Charlie. I didn't do anything! (JACK helps CHARLIE up off the floor.) CHARLIE BECKWORTH: (to his father) Shut up! Just shut up! Sick son of a bitch. MR. BECKWORTH: (shouting) She's lying! (DANNY looks down at MR. BECKWORTH.) DANNY: (quietly) Shut. Up. (JACK looks down at MR. BECKWORTH as he escorts CHARLIE out of the room. Camera holds on JACK.) CUT TO: [EXT. NEW YORK CITY (STOCK) - NIGHT] SCENE #34 [INT. FBI - JACK'S OFFICE -- NIGHT] (JACK starts clearing his desk. MARTIN walks into the office.) MARTIN: You going to call it a night? JACK: Uh-huh. MARTIN: So what do you think? The DA going to press charges? JACK: Well, with a good attorney and her mother's testimony, I would say the odds are, the father's the one going to jail. (JACK walks around his desk and gets his coat. He puts on his coat. MARTIN shakes his head ... wondering.) MARTIN: Yeah. You know, I just keep wondering if Charlie knew all along. I mean, he was in that house, too. Who knows? Maybe that's why he married her. He was trying to save her. JACK: Maybe ... (beat) ... Maybe it was love. (MARTIN shrugs.) Why don't you get out of here. Go on a date or something. (MARTIN nods his head. JACK leaves the office. MARTIN lingers for a moment, looking around.) (MARTIN walks out of the office.) FADE TO BLACK. ======================== THE END ======================== [Captioning sponsored by CBS and Warner Bros. Television Captioned by Media Access Group at WGBH access.Wgbh.Org] For corrections / inaccuracies, please contact the Transcriptionist at (intrepidly002@yahoo.com) Courtesy of http://www.webphilia.com/~anthology/wnp.html Please do not archive without permission. ======================== BEGINNING/TITLE CREDITS ======================== WITHOUT A TRACE 1X15: THERE GOES THE BRIDE ORIGINAL AIR DATE ON CBS: 02/20/2003 TRANSCRIBED FROM CBS Starring ANTHONY LaPAGLIA as Jack Malone POPPY MONTGOMERY as Samantha Spade MARIANNE JEAN-BAPTISTE as Vivian Johnson ENRIQUE MURCIANO as Danny Taylor ERIC CLOSE as Martin Fitzgerald Created by: HANK STEINBERG Guest Starring LAWRENCE PRESSMAN as Mr. Beckworth MACKENZIE ASTIN as Charlie Beckworth KELLY OVERTON as Audrey Rose PAUL CARAFOTES TIMOTHY LANDFIELD NANCY CASSARO and VERONICA CARTWRIGHT as Mrs. Beckworth Producer: JAN NASH Producer: GREG WALKER Produced by: SCOTT WHITE Co-executive Producer: JACOB EPSTEIN Executive Producer: HANK STEINBERG Executive Producer: JONATHAN LITTMAN Executive Producer: ED REDLICH Written by: STEVEN KANE Directed by: DERAN SARAFIAN ======================== END CREDITS ======================== JERRY BRUCKHEIMER Television CBS Productions Warner Bros. Television, An AOL Time Warner Company www.warnerbros.com Associate Producer: NANCY VAN DOORNEWAARD Executive Story Editor: ALLISON ABNER Director of Photography: JOHN PETERS Production Designer: AARON OSBORNE Edited by: JOHN F. SHOWALTER Music by PETER MANNING ROBINSON Theme by JOHNNY KLIMEK and REINHOLD HEIL Unit Production Manager: SCOTT "The Bear" MAITLAND First Assistant Director: LEIGH A. WEBB Second Assistant Director: KRISTIN KILLEY Casting by: GARRY M. ZUCKERBROD, C.S.A. Casting by RONNA KRESS, C.S.A. and TRACY KAPLAN, C.S.A. Guest Starring LAUREN STAMILE as Jessica Brighton ERICK LASSITER as Randy MIKE C. WILLIAMS as Brad HERMAN CHAVES as Jose (The Janitor) ERIC SCOTT GOULD as Agent TY MILLER as Tech Agent Technical Advisor: MARK LLEWELLYN Set Decorator: JEANNIE GUNN, S.D.S.A. Property Master: JOHN HARRINGTON Costume Designer: ANN CRABTREE Costume Supervisor: SUE BUB Make-up Artist: TINA ROESLER KERWIN Hairstylist: STEPHEN A. ELSBREE Production Sound Mixer: JAY PATTERSON, C.A.S. Production Coordinator: BRETT CRANFORD Assistant Production Coordinator: KELLY McCORMICK Supervising Sound Editor: VICTOR IORILLO Music Supervisor: JASON ALEXANDER Music Editor: MELISSA FERGUSON Re-recording Mixers: YURI REESE / BILL SMITH Film Processing by FOTOKEM Main Title Design by SKIP FILM Visual Effects by CREO cbs.com FBI Technical Advisor: DENNIS BONELLI / JENNIFER A. BLEIER The producers wish to thank the New York office of the FBI for their help and cooperation. The characters and events depicted in this motion picture are fictional. Any similarity to any actual person, living or dead, or to any actual events, firms, and institutions or other entities, is coincidental and unintentional. This motion picture is protected under the Laws of the United States and other countries, and its unauthorized duplication, distribution or exhibition may result in civil liability and criminal prosecution. Copyright 2003 Warner Bros. Television. All Rights Reserved Country of first publication United States of America Warner Bros. Television is the author of this film/motion picture for the purpose of Article 15 (2) of the Berne Convention and all national laws giving effect therein. Dated:02/23/2003~lky http://www.webphilia.com/~anthology/wnp.html