WITHOUT A TRACE 1X16: CLARE DE LUNE ORIGINAL AIR DATE ON CBS: 02/27/2003 TRANSCRIBED FROM CBS Written by: ALLISON ABNER & JAN NASH Directed by: MEL DAMSKI 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 ========================== 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: A teenager, who has unconsciously tapped into a repressed memory, runs away from the psychiatric facility she was staying. It becomes a race for time to find her before she hurts someone ... or herself. ========================== WITHOUT A TRACE 1X16: CLARE DE LUNE ========================== COLD OPEN: [EXT. COPPER MEADOWS - NIGHT] LEGEND: COPPER MEADOWS PSYCHIATRIC HOSPITAL SCENE #01: [INT. COPPER MEADOWS - NIGHT] (MICHAEL BEECHER, the Orderly, struggles to get CLARE METCALF down the hallway. He holds her in his firm grasp as she struggles to get away from him. He pushes her down the hallway.) CLARE METCALF: Let go of me! Let go! (She tries to get away from him, but he keeps his hold on her. They get close to the room.) CLARE METCALF: No! No! Stop! MICHAEL BEECHER (ORDERLY): Come on! Come on! (CLARE METCALF looks up and sees where MICHAEL BEECHER is taking her. She struggles even more. They move past other hospital personnel who simply watch.) CLARE METCALF: No, please don't put me in there. Please, I'll go back to my room, I promise. MICHAEL BEECHER (ORDERLY): I already called a doc. (He pushes her toward the door, opens it and pushes her inside.) CLARE METCALF: No, no, no ... (MICHAEL BEECHER takes the key and locks the door. CLARE METCALF looks out of the small window in the door. She presses her face to the glass and pounds on it with her palm trying to get anyone's attention.) (MICHAEL BEECHER ignores her and walks away. She continues to scream to the door.) (She hits her palm against the window, screams ... and vanishes.) DISSOLVE TO: SCENE #02: [INT. COPPER MEADOWS PSYCHIATRIC HOSPITAL - HALLWAY / TIME OUT ROOM -- DAY] LEGEND: 5 HOURS MISSING (The ADMINISTRATOR leads JACK down the hallway and to the Time Out room.) ADMINISTRATOR: The doctor showed up about an hour later. Drove in from Westfield, had the orderly come back to get Clare and uh ... (The ADMINISTRATOR opens the room door and they walk inside. JACK stops in the middle of the room and looks around.) JACK: No signs of violence? ADMINISTRATOR: No. JACK: Anybody break out of this room before? ADMINISTRATOR: No. JACK: Anybody else have keys to this room? ADMINISTRATOR: Fifteen people on staff. According to the entry log, five were here last night. JACK: Well, I'm going to need to speak to them and to the orderly. ADMINISTRATOR: Michael went home after the police interviewed him. JACK: Bring him back. CUT TO: SCENE #03: [INT. COPPER MEADOWS PSYCHIATRIC HOSPITAL - HALLWAY -- DAY] (SAMANTHA stands in the hallway busy writing in her notebook. DANNY walks up to her.) DANNY: What have you got? SAMANTHA: Clare Metcalf. 16. Admitted three weeks ago after a psychotic breakdown. She's on an antipsychotic, and two antidepressants, which kept her out of trouble until last night. DANNY: Security system. Someone cut the camera wires in the adolescent wing. One of these white coats is dirty. SAMANTHA: Yeah, unless being abducted is part of the treatment program. (They both turn and walk down the hallway.) CUT TO: [WHITEBOARD] (A color photo of CLARE METCALF is added to the WHITEBOARD next to her Case # and Name: 7A-NY 200481 / "CLARE METCALF") HARD CUT TO END OF TEASER ROLL TITLE CREDITS (COMMERCIAL SET) SCENE #04: [INT. FBI - MISSING PERSONS UNIT -- DAY] LEGEND: 6 HOURS MISSING (MARTIN reviews Copper Meadows' blueprints on the computer. VIVIAN looks at the plans on the computer over his shoulder.) MARTIN: The cameras were supposed to cover the hallway, the common room, and these supply closets here. But forensics on the camera room came up negative, so we're not sure when the wire was cut. VIVIAN: So if she was taken, how did they get out? MARTIN: The time-out room, it's in blue here, exits in red. This way, they go past the pharmacy. It's attended 24/7. Over here, they come out right by the front guard station, so ... VIVIAN: ... so they go out this way, out the back. MARTIN: Right. And the grounds are well lit, ... (MARTIN stands and they both move to the table where blueprints of the entire grounds are spread out on the conference table.) MARTIN: ... but if you knew what you were doing, stayed west of the tree line right here, you could probably make it to the fence along route seven without anyone seeing you. VIVIAN: Which isn't good for Copper Meadow. MARTIN: Why's that? VIVIAN: Hang on. (VIVIAN goes back to her desk to get a file folder. She opens it and hands it to MARTIN.) VIVIAN: Here we go. Two years ago, a 17-year-old male patient hung himself with his shoelaces in the time-out room. MARTIN: And they're still in business? VIVIAN: Well, barely. They tried to hush it up, but the attorney general got involved, and after a review, they were given a provisional license. So, if Clare hurt herself, or one of the other patients hurt her ... MARTIN: They'd have to cover it up, or this time the state sends them packing. VIVIAN: Well, that's one theory. MARTIN: So what have you got on her parents? VIVIAN: Her father's a contractor. He converts lofts in Tribeca. MARTIN: You know, if he's a contractor, he might have some enemies. (Camera holds on VIVIAN as she thinks about it.) CUT TO: [EXT. METCALF RESIDENCE -- DAY] SCENE #05: [INT. METCALF RESIDENCE -- DAY] (LAWRENCE METCALF leads JACK into the living room.) LAWRENCE METCALF: We didn't want to send her to Copper Meadows in the first place, but the way she was, I didn't think I had a choice. Now, now this. Why? Wh- ... You know, what am ... I don't understand what happened. JACK: We have dozens of local police and FBI agents scouring the area. We're doing our best. LAWRENCE METCALF: Right. JACK: Mr. Metcalf, do you have any idea what might have triggered Clare's breakdown about three weeks ago? LAWRENCE METCALF: You know, I have ... I have turned that over and over, trying to think of something, but it just seemed to come out of nowhere. JACK: No signs, no irregular activity. LAWRENCE METCALF: She's a teenager. Yeah, there was a lot of irregular activity. But given what she's been through? No, I think she was doing amazingly well. JACK: Despite her mother's death. LAWRENCE METCALF: Her mother was a ... a difficult woman. She was bipolar, depressive, and about ... half a dozen other things. JACK: But, uh, Clare was close to her. LAWRENCE METCALF: Yeah. Yeah, on good days. (LAWRENCE METCALF sits down) LAWRENCE METCALF: On good days, the two of them were inseparable, you know? (JACK sits down.) LAWRENCE METCALF: Her mother used to take her on... on outings. They called them "grand adventures." Search for the tallest tree in the park, or, I don't know, the fattest duck in the pond. And, on those days, everything was great. JACK: And the day her mother died? LAWRENCE METCALF: I was out front raking leaves. I heard Clare scream ... CUE: (PRELAP) CLARE SCREAMING (Quick flashback to: LAWRENCE METCALF runs around the corner of the brick house, a rake still in his hand.) LAWRENCE METCALF: (v.o.) ... by the time I got around back ... (LAWRENCE METCALF sees his daughter CLARE over his wife, her head in a pool of blood. She has a hand on her shoulder and is trying to get her to open her eyes.) CLARE METCALF: Mommy! (CLARE cries.) LAWRENCE METCALF: (v.o.) The look in her eyes ... (End of flashback. Resume to present.) LAWRENCE METCALF: ... it was awful. JACK: Did you ever take her to counseling? (LARENCE METCALF sighs.) LAWRENCE METCALF: No, I didn't. JACK: Why not? LAWRENCE METCALF: Well, I took her once. She threw a tantrum, wouldn't get out of the car. JACK: That was it? LAWRENCE METCALF: She seemed fine. And we had each other. CUT TO: [EXT. COPPER MEADOWS PSYCHIATRIC HOSPITAL - DAY] SCENE #06: [INT. COPPER MEADOWS PSYCHIATRIC HOSPITAL - MAIN HALL -- DAY] (SAMANTHA interviews the Orderly, MICHAEL BEECHER.) MICHAEL BEECHER: : When asked Clare to turn off the television -- this was 45 minutes after lights out -- she said something foul, and then she threw a shoe at me. SAMANTHA: You normally let her watch television 45 minutes after lights out? MICHAEL BEECHER: They're just kids. I know they'd rather be at home, so I do what I can to make they're lives a little bit nicer. SAMANTHA: And last night, did you follow procedure when you locked her up? MICHAEL BEECHER: By the book. I consulted the doctor on call, he said that she should go in. I-I checked on her after thirty minutes, 'cause if they calm down, then, um, they can come out and go back to their own rooms. SAMANTHA: But Clare hadn't. MICHAEL BEECHER: Uh, no. SAMANTHA: Fresh bruise. She hit you. MICHAEL BEECHER: Yeah. Um, like I said, I never seen her like that before. SAMANTHA: So maybe you thought, you know, show her who's boss, you hit her back, you didn't mean to hurt her ... MICHAEL BEECHER: No way. SAMANTHA: Michael, come on. At 11:15, there were only four other people in the building who had a key to the time-out room. So either you let her out, or you saw who did. MICHAEL BEECHER: I-I didn't see anything. SAMANTHA: Okay. CUT TO: SCENE #07: [INT. COPPER MEADOWS PSYCHIATRIC HOSPITAL - HALLWAY -- DAY] (DANNY and The ADMINISTRATOR walk through the hallway toward an empty room. The ADMINISTRATOR is carrying a box.) DANNY: I'm also going to need drug check-outs, incident reports ... anything that will help me nail down the movements of the five people in the building that may have opened the door to the time-out room. ADMINISTRATOR: Of course, but I really can't imagine any of our employees being involved in this. [INT. COPPER MEADOWS PSYCHIATRIC HOSPITAL - OFFICE-- DAY] (They both inter the office. The ADMINISTRATOR puts the box on the table.) DANNY: Maybe it was an accident. Maybe one of your employees made a copy of the key and it fell into the wrong hands. ADMINISTRATOR: To make a copy, they would have needed my signature, and the original factory master key. DANNY: What if Michael Beecher didn't close the door all the way? Maybe another patient ... ADMINISTRATOR: All the patients were accounted for. DANNY: Or she hurt herself. ADMINISTRATOR: The time-out room is specifically designed to protect patients who are ... vulnerable to inflicting harm on themselves. DANNY: So you've re-designed it? ADMINISTRATOR: Excuse me? DANNY: Time-out room? Two years ago? Ricky Jordan? Shoelaces? I'm assuming whatever allowed that to happen has been fixed? ADMINISTRATOR: Clare Metcalf did not kill herself. DANNY: Mr. Dunlop, Clare Metcalf did not use her spidey powers to pull herself through a ceiling panel. Somebody had to have let her out. How about those personnel files? (DANNY smiles at the ADMINISTRATOR. The ADMINISTRATOR turns and leaves the office.) CUT TO: [EXT. NEW YORK CITY (STOCK) - DAY] LEGEND: 9 HOURS MISSING SCENE #08: [INT. METCALF RESIDENCE - CLARE'S BEDROOM -- DAY] (JACK interviews MRS. METCALF, CLARE'S step-mother.) MRS. METCALF: I got most of this stuff for her. After Olivia died, Lawrence moved them into the city. Clare never even took her stuff out of the moving boxes. I couldn't stand she was in here with nothing. JACK: You knew Clare's mother. MRS. METCALF: Yes, I did. We were friends. JACK: That must have made it difficult with Clare. MRS. METCALF: Did at first. But she knows I love her father. JACK: Did you always? MRS. METCALF: I never allowed myself to think about it while Olivia was alive. But afterwards, he was so broken. I tried to be there for him. I know what some people think, but I'm not going to apologize for trying to be happy. JACK: So you were here the night of the breakdown. MRS. METCALF: She came home from school talking a mile a minute about nothing. While I was in the kitchen making dinner, she picked up a glass flower vase and just dropped it. And then she looked at the mess and started laughing. Lawrence was at a site. I didn't know what was going on with her, so I sent her to her room. (MRS. METCALF turns to look at the window ... ) MRS. METCALF: When I came up to get her, the stereo was on ... (Quick flashback to: MRS. METCALF pushes CLARE'S bedroom door open. Rock music is on very loud. She finds CLARE METCALF sitting on the open window sill in her underwear.) LYRICS: that's when I decided why should I care / 'cause you weren't there when I was scared / I was so alone... (Outside, it's raining. CLARE continues to sit on the window ledge and stare out at nothing. Lightning flashes. CLARE closes her eyes and lifts her face to the rain. Concerned, MRS. METCALF rushes forward toward CLARE.) (End of flashback. Resume to present.) MRS. METCALF: I've replayed it a thousand times. I picture myself yelling, "Go to your room, Clare. Just get out of here and go to your room." I know that's not what caused this to happen, but still. (She turns back to look at JACK.) CUT TO: [EXT. COPPER MEADOWS PSYCHIATRIC HOSPITAL - DAY] SCENE #09: [EXT. COPPER MEADOWS PSYCHIATRIC HOSPITAL - HALLWAY -- DAY] (DANNY interviews CLARE'S psychiatrist, DR. COVINGTON.) DR. COVINGTON: Clare's breakdown had all the markings of a post-traumatic stress response. DANNY: Like what happens to combat vets? DR. COVINGTON: Exactly. Any major trauma can bring it on. War, witnessing a violent crime ... her mother's suicide would have been more than enough to cause it. DANNY: Although the accident happened six years ago. DR. COVINGTON: A patient's response can be delayed months, even years, depending on the trauma. The patient buries the initial response, and then when those feelings are triggered, they experience a catastrophic episode, like Clare. [INT. COPPER MEADOWS PSYCHIATRIC HOSPITAL - ART THERAPY ROOM -- DAY] DANNY: One day of that kind of behavior and they hospitalize her. DR. COVINGTON: You didn't see her. DANNY: She was dangerous? DR. COVINGTON: Potentially. To herself. But the medication had stabilized her. DANNY: Until the night she disappeared. DR. COVINGTON: I can't account for her being violent with the orderly. We'd seen nothing like that. Not even when she first got here. (DR. COVINGTON reaches down and picks up a large art folder. She pulls out a stack of picture paintings.) DANNY: You never broke through to her? I mean, even after the medication kicked in ... nothing. DR. COVINGTON: She was calm, but uncommunicative. Verbally, at least. (DR. COVINGTON starts to spread the picture paintings out on the table in front of them.) (Quick flashback to: CLARE METCALF grips the paint brush and is painting furiously.) DR. COVINGTON: (v.o.) We'd been having some success with art therapy. (The camera moves around CLARE and focuses in on the picture she's painting. It's of a black "monster" with blood-red eyes up on the roof of her brick house.) (End of flashback. Resume to present.) (DANNY picks up the picture and looks at it.) DR. COVINGTON: Clare seemed to be able to express herself through pictures. A lot of these are of her childhood home. She's reliving the past at her house where her mother died. DANNY: What's this? (DANNY points to the black "monster" with red eyes.) DR. COVINGTON: She would never talk about what that represents. Obviously something dangerous, scary ... beyond that, I'm just speculating. (Camera focuses in on the black "monster" in the picture painting.) FADE OUT. (COMMERCIAL SET) FADE IN. [EXT. COPPER MEADOWS PSYCHIATRIC HOSPITAL -- DAY] SCENE #10: [INT. COPPER MEADOWS PSYCHIATRIC HOSPITAL - OFFICE -- DAY] (SAMANTHA walks into the office where DANNY is reviewing CLARE METCALF'S box of personal items.) DANNY: Did you hear anything about the Orderly? SAMANTHA: Beecher phoned it in right away. His story fits with phone records and other staff. What's this? DANNY: This is all this stuff they confiscated from Clare when she got here - (DANNY shows SAMANTHA an CLARE'S art journal. Its pages are filled with pictures, color and words. DANNY smiles up at SAMANTHA.) DANNY: ... There's life in this. Everything she painted after she got here ... all darkness. (The ADMINISTRATOR walks into the office carrying a file folder.) ADMINISTRATOR: This is the visitors log. I marked Clare's visitors with these tabs. Let me know if there's anything else you need. (DANNY takes the file, opens it and starts reading.) DANNY: (reading) "Lawrence Metcalf. "Kate Metcalf. Lawrence, Lawrence." "D. Lincoln" twice. (The ADMINISTRATOR turns to leave the room. DANNY stops him.) DANNY: A doctor? ADMINISTRATOR: No, no. They-they sign a separate log. SAMANTHA: Friend. DANNY: A good one -- an hour and a half back and forth from the city twice. ADMINISTRATOR: Is there anything else? DANNY: Actually, there is. The effects lists says that Clare came in with a ring. ADMINISTRATOR: We like to hold on to all non-essentials. DANNY: Hold on to them where? ADMINISTRATOR: That box has been locked in the security office. DANNY: Well, obviously, things don't stay locked up around here for too long, because the ring is gone. Someone in your staff took it. Probably the same person that took Clare out of the time-out room. ADMINISTRATOR: I'll look into it. (The ADMINISTRATOR leaves the room.) DANNY: That ring could be worth something. SAMANTHA: I'll check all the pawn shops in the area. Maybe we'll get lucky. (SAMANTHA leaves the room. DANNY nods his head and looks back at CLARE'S art journal.) CUT TO: SCENE #11: [INT. METCALF RESIDENCE - DAY] (JACK questions LAWRENCE METCALF about the missing ring.) JACK: She had a ring in her box of possessions. It seems to be missing. LAWRENCE METCALF: It was her mother's ring. I gave it to her a couple of months after she ... look, Clare never took it off. JACK: Could she have given it to a ... D. Lincoln? LAWRENCE METCALF: Dylan? What's Dylan Lincoln got to do with this? JACK: We don't know. He did visit her in the hospital. LAWRENCE METCALF: Look, I put my foot down about him months ago. I didn't even know they were in touch. JACK: He's her boyfriend? LAWRENCE METCALF: He's not supposed to be; he's bad news. JACK: How's that? LAWRENCE METCALF: He's an arrogant little punk. CUT TO: SCENE #12: [INT. COPPER MEADOWS PSYCHIATRIC HOSPITAL - CLARE METCALF'S ROOM -- DAY] (DANNY walks into the room to question SANDRA, CLARE METCALF'S roommate. DR. COVINGTON remains near by the door.) DANNY: Sandra? My name is Danny. I'm here because I'm trying to find Clare. (SANDRA sits on the bed, her head turned away from DANNY. DANNY sits in a chair next to the bed.) DANNY: So, you share this room with her, huh? (SANDRA doesn't answer DANNY. She scratches her arm. DANNY looks down at the motion and notices the knife cuts on her arm. He looks back up at her.) DANNY: Look, I'm not with the hospital. I'm with the FBI. (He reaches in to his pocket and pulls out his FBI ID. This catches SANDRA'S attention and she turns to look at the ID when he opens it for her. She takes the ID and looks at it.) DANNY: Whatever you tell me is between us. Okay? (She nods. He smiles sheepishly.) DANNY: I know. It's a bad picture. (She smiles back shyly.) DANNY: Do you know where Clare might have gone? (She shakes her head.) Do you know if Clare was afraid of anyone here? (She shrugs: she doesn't know.) Are you afraid of anyone here? (DR. COVINGTON watches closely.) SANDRA: (whispering): I don't like Leslie. DANNY: Who's Leslie? SANDRA: (whispering) She lives down the hall, and she's very loud. DANNY: I wouldn't like her, either. (DANNY smiles.) DANNY: Sandra? Sandra? Do you know if Clare had any secrets? I'll bet you saw a lot of things. SANDRA: She didn't always take her pills. (Quick flashback to: CLARE METCALF spitting her pills out into her hand and kneeling next to the side of her bed.) SANDRA: (v.o.) ... She pretended to swallow them, but then she stuffed them in a hole in the mattress. (She looks around to see if anyone's watching. She lifts up the bed sheet and shoves the pills under the mattress. She stands and walks away. She vanishes.) (End of flashback. Resume to present.) (DANNY walks over to the side of the bed and looks between the mattresses.) DANNY: All the time? SANDRA: A lot. (DANNY lifts up the sheet and finds the pills immediately. He moves them and holds them up for DR. COVINGTON to see. She takes a breath. This is news to her.) DR. COVINGTON: Sandra? Thank you. (SANDRA turns around to look at DR. COVINGTON.) Why don't you tell Penny I said you could watch some tv? (SANDRA stands up just as DANNY reaches her.) DANNY: Thank you, Sandra. (SANDRA returns DANNY'S FBI ID back to him and she leaves the room.) (DANNY holds out the plastic pill bag.) DANNY: How many days? (She looks at it.) DR. COVINGTON: Seven. DANNY: How could you not notice this? DR. COVINGTON: The drug's still in her system. The effects wouldn't be obvious. DANNY: Dr. Covington, she was slapping around an orderly last night. DR. COVINGTON: That might have been a sign. DANNY: If she wasn't taking her pills, that means she doesn't trust you. DR. COVINGTON: Probably ... yes. DANNY: Which means that she was planning on getting out of here. DR. COVINGTON: If she's out there without those, she's a danger to herself. DANNY: And others. (DR. COVINGTON nods.) CUT TO: [EXT. NEW YORK CITY (STOCK) -- DAY] SCENE #13: [INT. FBI - MISSING PERSONS UNIT - DAY] (JACK and DANNY examine CLARE METCALF'S artwork. It's spread out on the conference table in front of them.) JACK: There's something very familiar in all of these. DANNY: What do you make of that? (DANNY looks to a particular picture of the black "monster" with red eyes, a tree with black and red "leaves" and the brick wall.) JACK: I don't know. Could be a person. Could be something more abstract. Fear, anger, guilt. DANNY: Guilt? JACK: Survivor's guilt. It's quite common for children of suicide victims to commit suicide themselves. I don't know. Maybe Clare was trying to work through something so she could move on. DANNY: And stop reliving it over and over. JACK: Right. DANNY: You know, my parents died when I was Clare's age, and I'm not reliving it. JACK: Maybe you're working your way through it. Maybe this is reliving it for you. DANNY: Thanks, Dr. Freud. JACK: Yeah. Right. Sorry. DANNY: If this is her old house, I think I need to take a trip down memory lane. (DANNY picks up a picture painting of the old Metcalf Residence.) DISSOLVE TO: SCENE #14: [EXT. METCALF (OLD) RESIDENCE -- DAY] (DANNY and the DETECTIVE who investigated OLIVIA METCALF'S death. They're both standing on the second floor balcony where OLIVIA METCALF fell from.) DETECTIVE: I guess the fall broke her neck. According to the report, the girl was the first to get to her. DANNY: No way it was an accident? DETECTIVE: Yeah, we checked the tiles for scuff marks. And this ledge is 28 inches. I mean, even if she tripped, it's pretty hard just to fall over it. DANNY: Did you interview Clare that day? DETECTIVE: Yeah, she was playing in the family room, heard a thump, came out to see what it was. Her father was raking leaves in the front, and he got there a few moments later. DANNY: Yeah, that's what he said. DETECTIVE: You suspect something else? DANNY: Did you? DETECTIVE: Whenever a wife is killed, you look at the husband, but, uh, girl's story was unshakable. (DANNY looks back down to the ground below.) CUT TO: SCENE #15: [INT. FBI - JACK'S OFFICE -- DAY] (JACK is in his office when VIVIAN walks in and takes the seat in front of his desk.) VIVIAN: Martin was right about Clare's father. He's in a turf war with another contractor by the name of David Brummond. JACK: What are they fighting over? VIVIAN: Don't know. It could be personal, because they were partners up until eight years ago. Took Brummond a couple of years to get back up on his feet after the split. JACK: What kind of stuff is he up to? VIVIAN: Recruiting Metcalf's workers. Stirring up trouble with the unions. Last year, one of Metcalf's sites burned down and the fire department had it pegged as arson, but they couldn't pin anything on Brummond. JACK: Well, it might be a long shot, but maybe Brummond kidnapped Clare to get even with her old man. We should check it out. CUT TO: SCENE #16: [EXT. - METCALF (OLD) RESIDENCE -- DAY] (DANNY and the DETECTIVE walk to the ground floor outside where OLIVIA METCALF'S body fell.) DANNY: Couldn't he have pushed her, run down the stairs or climbed down that way, and made it look like he was doing work in the front yard? DETECTIVE: You should have seen how upset he was about it. DANNY: And she had a history of mental illness, so ... DETECTIVE: Exactly. DANNY: But there was no suicide note. (The DETECTIVE turns to look at DANNY.) DETECTIVE: No. DANNY: And jumping off a second story balcony isn't exactly a surefire way of killing yourself. Wouldn't you agree? DETECTIVE: We did a thorough investigation, Agent Taylor. And I feel certain we came to the right conclusion. DANNY: Then afterwards, Metcalf and his daughter -- they moved right away. DETECTIVE: Really can't blame them. I wouldn't want to stay here either after something like that. (DANNY looks back up to the second floor balcony.) DANNY: No. CUT TO: [EXT. NEW YORK CITY STREET (STOCK) - DAY] SCENE #17: [EXT. NEW YORK CITY STREET -- DAY] (JACK and VIVIAN exit the car parked just outside of the road barricade blocking traffic to a construction work in the middle of the road.) CREWMAN: (b.g.) All right, just send them out to my crew. (JACK walks up to the nearest construction worker.) JACK: I'm looking for Dave Brummond. CREWMAN: (turns and yells) Yo, Brummy! They want to see you. (DAVID BRUMMOND makes his way toward JACK and VIVIAN.) JACK: You Dave Brummond? DAVID BRUMMOND: Yeah. What can I do for you? JACK: I work with the FBI. I want to ask you some questions about Lawrence Metcalf. DAVID BRUMMOND: The guy's a piece of crap. VIVIAN: So, it's true you got a failed business relationship? DAVID BRUMMOND: "Failed business relationship"? Is that what Metcalf called it? JACK: That's what the arson report called it. DAVID BRUMMOND: I didn't burn down his damn building. JACK: But you had reason to, right? DAVID BRUMMOND: Metcalf underbid me on my first twelve jobs I went after. I thought it was because he was a better businessman than I was, until I saw having coffee in Starbucks with my estimator. So, yes, he screwed me. I had reason, but I didn't do anything. JACK: Where were you last night at about midnight? DAVID BRUMMOND: What's it matter? JACK: Metcalf's daughter is missing. DAVID BRUMMOND: I thought she was in some kind of mental institution. VIVIAN: She was. (He thinks about this and doesn't like the conclusion he's arriving at.) DAVID BRUMMOND: (angry) Oh, what? Is he trying to pin this on me, too? You know what? I should have torched one of his jobs. Now, if you got something on me, let me hear it. Otherwise, I got to get back to work. (DAVID BRUMMOND walks away from them. VIVIAN looks back at JACK.) VIVIAN: What do you think? JACK: I don't think he knows anything about Clare. (JACK turns around and they make their way back to their car.) CUT TO: [EXT. NEW YORK CITY (STOCK) - DAY] SCENE #18: [INT. FBI - MISSING PERSONS UNIT -- DAY] (MARTIN is putting his jack on. He's going out of the office.) VIVIAN: Where are you off to? MARTIN: Dylan Lincoln. VIVIAN: Clare's boyfriend? MARTIN: Yeah. His mom finally gave me permission to come over. VIVIAN: Think they've been stalling you? MARTIN: It wouldn't be the first time. CUT TO: [EXT. NEW YORK CITY (STOCK) - DAY] SCENE #19: [INT. LINCOLN RESIDENCE -- DAY] (MARTIN questions DYLAN LINCOLN.) DYLAN LINCOLN: Look, man, we weren't going out for that long, okay? Maybe a couple of months, and then we broke up. MARTIN: Well, that's not what I hear. The kids at your school said that you and Clare are still pretty tight. DYLAN LINCOLN: No way. It was not like that. MARTIN: Then why did you go see her at Copper Meadows? DYLAN LINCOLN: She called me. She said she was lonely. I felt bad. MARTIN: You "felt bad"? Give me a break, man. You got more important things to do than drive an hour and a half out there for some pity party. DYLAN LINCOLN: Her dad hated me, okay? So, we told him that we broke up. MARTIN: But you didn't? DYLAN LINCOLN: No. MARTIN: And what do you know about her disappearing act from the hospital? DYLAN LINCOLN: Nothing. MARTIN: You don't seem too worried. DYLAN LINCOLN: I guess I'm not feeling particularly emotive today. MARTIN: So, how did she seem to you on your visits? DYLAN LINCOLN: She seemed fine. I don't even understand why the hell she went there. You know, it's like her dad's twisted way of grounding her or something. MARTIN: What would he ground her for? DYLAN LINCOLN: Well, he could have found out that we were hanging out at the loft. (Quick flashback to: Back at the loft, DYLAN and CLARE are kissing at the bottom of the stairs.) DYLAN LINCOLN: (v.o.) It was a job her dad was working on. Was the last time I saw her before he put her away. (CLARE pulls away. They laugh.) CLARE METCALF: You better get out of here. You don't want to miss your precious sound check. DYLAN LINCOLN: Oh, so what? I'm always late. CLARE METCALF: Yeah, and then you get into trouble, and then, I feel bad. DYLAN LINCOLN: Come on. We'll share a cab. CLARE METCALF: Go be a music god, okay? Besides, I got to clean up. If my dad ever found out that we were down here, he's lock me in my room till I was thirty. Go. Go. (They kiss again and DYLAN leaves. CLARE smiles as she watches him go.) BACKGROUND MUSIC LYRICS: ... Everything wasn't okay ... (End of flashback. Resume to present.) MARTIN: That was the night before she was sent to the hospital? DYLAN LINCOLN: Yeah. MARTIN: You know, she had a psychotic breakdown the next day, and you didn't think it was important to tell anyone about this? DYLAN LINCOLN: Because nothing happened. And by the way, the only people that saw her breakdown were her parents. MARTIN: Well, just so you know, the doctors at Copper Meadows diagnosed Clare with a serious mental illness. DYLAN LINCOLN: Right. Like they wouldn't say what they're paid to? (MARTIN dials and puts his cell phone to his ear.) MARTIN: (to DYLAN) You know, I just hope nothing happened to her after you left her at the loft, because if something did, and you didn't tell anybody about ... (to phone) Yeah, Danny, I got a lead for you. (Camera holds on DYLAN LINCOLN'S disbelieving look.) CUT TO: [EXT. NEW YORK CITY (STOCK) -- DAY] SCENE #20: [INT. THE LOFT -- DAY] (LAWRENCE METCALF leads DANNY up the stairs.) LAWRENCE METCALF: I don't see how this is supposed to be at all productive. DANNY: Well, she was here the day she had her breakdown. LAWRENCE METCALF: Right. Making out with her boyfriend. How is that supposed to help us now? DANNY: I don't know that yet. But you know what I do know? That I would appreciate it if you were a bit more forthcoming with us. (DANNY looks around the loft.) LAWRENCE METCALF: What the hell is that supposed to mean? DANNY: You never mentioned anything about David Brummond. LAWRENCE METCALF: Because he has nothing to do this, and neither does this loft. You people are wasting time while my daughter is out there somewhere. (As LAWRENCE METCALF rants at DANNY, DANNY finds an open duffle bag among the other items in The Loft. He picks it up and looks through it.) DANNY: You recognize these? These are Clare's pajamas. (LAWRENCE METCALF reaches out a hand to grab them. DANNY pushes his hand away and pulls out a pen.) She was here last night. She was wearing these the night she disappeared. You still think we're wasting our time? FADE OUT. (COMMERCIAL SET) FADE IN. [EXT. NEW YORK CITY SKYLINE (STOCK) -- DAY] LEGEND: 12 HOURS MISSING SCENE #21: [INT. FBI - MISSING PERSONS UNIT - HALLWAY -- DAY] (VIVIAN is walking down the hallway when SAMANTHA calls out to her from behind.) SAMANTHA: Viv, I found Clare's ring. VIVIAN: Who had it? SAMANTHA: Pawnshop, two miles from the hospital. We got video. The ring was appraised at $15,000. The pawnshop gave $4,000 to the guy who brought it in. (to the TECH) Let's see it. (They stop by the TECH at the computer. On the computer, the TECH starts the surveillance video. He blocks and enlarges the man selling the ring.) SAMANTHA: Oh. That's Michael Beecher, the orderly Clare punched that night. (Camera holds on the video picture of MICHAEL BEECHER.) CUT TO: SCENE #22: [INT. THE LOFT - DAY] (OFFICERS process The Loft as if it were a crime scene.) LAWRENCE METCALF: Doesn't make any sense. Why would she come here? DANNY: Well, her boyfriend said he left her alone that day. Maybe something happened after that. (LAWRENCE METCALF looks at DANNY for a moment, then looks away. Something's on his mind.) DANNY: Mr. Metcalf ... LAWRENCE METCALF: No. Doesn't explain it. DANNY: Explain what? (LAWRENCE METCALF closes his eyes and sighs.) DANNY: Were you here that day? LAWRENCE METCALF: I was. I was trying to hire a couple of Brummond's guys. They came to my loft, I made my pitch, they weren't interested. DANNY: And? LAWRENCE METCALF: And ... and things got a little heated, that's all. I did what I had to. It was two on one. (Quick flashback to: LAWRENCE METCALF falls to the floor on his back. He quickly gets back on his feet and grabs a long 2X4. He uses it to hit the two men who rush him.) (He hits the first man in the elbow. He swings and hits the second man in the knee. The man is still up on his feet.) LAWRENCE METCALF: Brummond thinks he can threaten me, huh? (LAWRENCE METCALF swings and misses. The second man rushes him and pushes him back against the wall. METCALF wedges the piece of wood between him and the man and pushes him backward. The man falls down from the second floor and lands on the metal container below.) (METCALF peers over the side and watches as the man gets to his feet and runs away.) (End of flashback. Resume to present.) DANNY: What time was this at? LAWRENCE METCALF: Ah, around five. DANNY: You know their names? LAWRENCE METCALF: Samski and, um, Zanovitch. DANNY: Where can we find them? CUT TO: SCENE #23: [INT. FBI - MISSING PERSONS UNIT -- DAY] LEGEND: 14 HOURS MISSING (MARTIN is sitting at the conference table with a stack of psychology books in front of him. VIVIAN walks over to him and peers down at what he's doing.) VIVIAN: "Acute stress disorder." Job getting to you? MARTIN: Oh, you noticed. Actually, I'm trying to keep up with Jack and Danny. VIVIAN: Oh. Anything interesting? MARTIN: Well, in order to precipitate a psychotic event, there has to be a link between the original trauma and the triggering episode. VIVIAN: Which means what? MARTIN: What it means is if Clare's reliving her mother's suicide, it's because something happened in that loft that opened the door to those repressed memories. VIVIAN: So she breaks out of the hospital, goes back to the loft in order to figure out what it was that she saw. MARTIN: Or get some evidence. VIVIAN: What it was that she saw is her father whaling on two day laborers. MARTIN: Maybe it was more than that. VIVIAN: If she convinced the orderly to let her out, he might know what she saw. (MARTIN nods.) CUT TO: SCENE #24: [INT. FBI - INTERROGATION ROOM -- DAY] (DANNY and SAMANTHA confront MICHAEL BEECHER about CLARE METCALF'S missing ring.) DANNY: Michael, we know you stole the ring. MICHAEL BEECHER: I didn't. I swear. DANNY: Your mug is all over the security video from the pawn shop. MICHAEL BEECHER: She gave it to me. DANNY: She gave you the ring that belonged to her dead mom? MICHAEL BEECHER: Yeah, I, I told her I didn't want it, but she insisted. SAMANTHA: Oh, right, so one minute she's giving you her most prized possession, the next she's giving you a black eye. MICHAEL BEECHER: Hey, she's crazy, right? SAMANTHA: Here's what we think, Michael. We think she knew you took the ring, she was going to report you, so you made her go away. MICHAEL BEECHER: I didn't do anything to her. DANNY: Either you helped her break out, which is bad, or you kidnapped her, which is worse. Which one was it? MICHAEL BEECHER: She seemed okay. A lot of those kids are whacked, but Clare's ... (Quick flashback to: MICHAEL changes the sheets in CLARE METCALF'S room. She's pacing the floor.) MICHAEL BEECHER: (v.o.) I thought I was doing the right thing. CLARE METCALF: Michael, I got to get out. I don't belong here. MICHAEL BEECHER: Yeah, nobody belongs here. CLARE METCALF: No, but I really don't. They just put me in here ... (She stops and turns to look at MICHAEL.) They're afraid of what I know. MICHAEL BEECHER: What do you know? CLARE METCALF: I can't tell you. Look, I saw something that I shouldn't have. (She walks to MICHAEL.) But if you help me, I can prove it. I'll pay you. MICHAEL BEECHER: I can get in big trouble for this. CLARE METCALF: Michael, please?! I wouldn't tell anybody that it was you. All you would have do is get me into the time-out room. That's it. It's easy. Come on. MICHAEL BEECHER: How much you got? CLARE METCALF: My personal effects. There's a ring. You could take it, you could sell it. It's worth a lot of money. (MICHAEL goes back to fixing the bed. End of flashback. Resume to present.) SAMANTHA: All right, so after that incredibly persuasive argument, you decided to set her free in the world? MICHAEL BEECHER: My wife lost her job. I got three kids to support. DANNY: Where was she going? MICHAEL BEECHER: I swear to god, I have no idea. SAMANTHA: So you set her loose, in the countryside, psychotic, delusional and completely alone. MICHAEL BEECHER: She wasn't alone. She had someone picking her up. (SAMANTHA and DANNY look at each other.) CUT TO: [EXT. NEW YORK CITY (STOCK) -- DAY] LEGEND: 15 HOURS MISSING SCENE #25: [INT. FBI - MISSING PERSONS UNIT -- DAY] (MARTIN pushes his chair away from his desk and toward VIVIAN'S desk.) MARTIN: Okay. No sign of Dylan Lincoln anywhere, but his mom confirms that he went out around 10:15 last night. VIVIAN: Two hours before Clare disappeared. MARTIN: Slacker to the rescue. VIVIAN: Boy rescues girl from mental institution. It's a practically a teen legend. MARTIN: Hey, don't forget the evil father. It's classic. VIVIAN: So, he takes her back to the loft, she changes her clothes, but then what? MARTIN: Well, Springsteen song -- they're halfway to California. VIVIAN: Uh-huh, but something went wrong. (MARTIN'S phone rings. He answers it.) MARTIN: (to phone) This Freud or Jung? (VIVIAN chuckles.) (pause) Okay. All right, thanks. (He hangs up and sighs.) (to VIVIAN) That was Danny. Apparently Clare showed up at her old house about an hour ago, violent and irrational. CUT TO: [EXT. URBAN COMMUNITY -- DAY] SCENE #26: [INT. METCALF (OLD) RESIDENCE -- DAY] (JACK questions the WOMAN who lives in the house.) WOMAN: ... and when I opened the door, she just came bursting through like ... it was like she was possessed or something. (Quick flashback to: CLARE METCALF grabs a knife from the knife holder in the kitchen. She looks at the woman.) CLARE METCALF: Get out. (The WOMAN tries to talk to CLARE.) WOMAN: Who are you? What are you doing? CLARE METCALF: Please, you need to get out of here before you get killed, before you die! WOMAN: Sweetheart, I, I don't know who you are, but I'm going to call somebody who can come and help you. (The WOMAN lifts up the telephone from its holder.) CLARE METCALF: No! No phone calls. (The WOMAN drops the phone on the table.) Just get out of the house. Get out of here before you get hurt! (The WOMAN runs out of the house. End of flashback. Resume to present.) WOMAN: By the time the police got here, she was gone. JACK: Did she say who was trying to hurt you? WOMAN: No. (Camera holds on JACK.) CUT TO: SCENE #27: [EXT. METCALF (OLD) RESIDENCE -- DAY] (JACK walks outside and fills DANNY in on the interview.) JACK: She took the woman's car and the knife. DANNY: I don't get it. I don't get what she's doing. JACK: Clare thought the woman was her mother. She was trying to protect her. DANNY: From what? JACK: I'm not sure, but I think it has something to do with that monster in her drawings. (DANNY'S phone rings. He answers it.) DANNY: Taylor. INTERCUT WITH: [INT. FBI - MISSING PERSONS UNIT] SAMANTHA: Danny, we just found Brummond's two guys, Samski and Zanovitch. They're very much alive, and they confirm Metcalf's story. It wasn't much of a fight. (DANNY looks up at the second floor balcony wall and thinks. He doesn't answer SAMANTHA.) SAMANTHA: Danny? Danny, did you hear what I just said?? Clare didn't see her father kill anyone. DANNY: Yeah, thanks. (DANNY hangs up and continues to look up at the second floor balcony.) CUT TO: SCENE #28: [INT. THE LOFT - DAY] (LAWRENCE METCALF storms back into the Loft, a little annoyed at having to meet DANNY there.) LAWRENCE METCALF: Okay, what am I doing here again? DANNY: I wanted to talk to you about the fight you had with Brummond's men. LAWRENCE METCALF: Look, I told you everything I know. It was nothing. (Ignoring his complaints, DANNY gets to the point.) DANNY: The fight was over here, right? LAWRENCE METCALF: Yeah. So what? DANNY: Let's say that Clare decided to stay behind after Dylan left in order to pick up some of the empties, clean up. She was going to throw them away here. (DANNY moves to the trash bins.) She hears voices. She ducks down. Not a bad place to hide. (Quick flashback to: CLARE METCALF sits hidden behind the trash bins. She stares at the fight between her father and the two men. Her jaw drops.) DANNY: (v.o.) She's watching. (The second man pushes LAWRENCE METCALF up against the wall.) DANNY: (v.o.) What does she see? (CLARE METCALF watches as her father pushes the man away from him and off the edge of the second floor loft. LAWRENCE METCALF walks up to the edge of the floor and looks down over it.) (Camera holds on CLARE METCALF'S teary-eyed look of astonishment at what she just witnessed.) (End of flashback. Resume to present.) DANNY: Now, you miss him with the 2 x 4 and he charges you. (DANNY walks over to the opening in the wall where the man fell.) DANNY: Now, she sees you push that man over the edge. Now, the fall's just a couple of feet, but from her perspective, it could have been eight feet, ten feet. It might have even been as high as a second-story balcony. LAWRENCE METCALF: What are you talking about? DANNY: She saw you push him, she saw him fall just like she saw her mother fall. She finally remembered. LAWRENCE METCALF: Remembered what? DANNY: That you killed her mother. (Camera holds on LAWRENCE METCALF'S look of astonishment.) FADE OUT. (COMMERCIAL SET) [EXT. NEW YORK CITY (STOCK)- DAY] SCENE #29: [INT. FBI - INTERROGATION ROOM -- DAY] (Camera opens on a computer monitor hooked up to LAWRENCE METCALF as he undergoes a polygraph test administered by an AGENT.) AGENT: Is your name Lawrence Metcalf? LAWRENCE METCALF: Yes. (The AGENT clicks on some computer keys.) AGENT: Were you born November 10, 1954? LAWRENCE METCALF: No. AGENT: Were you born November 10, 1953? LAWRENCE METCALF: Yes. [OBSERVATION ROOM] DANNY: Six years is a long time to keep a secret like that. JACK: Maybe he abused Clare, physically, sexually ... wife found out, confronted him ... he killed her. DANNY: That would explain Clare's denial. [INTERROGATION ROOM] (The test continues.) AGENT: Are you a licensed contractor? LAWRENCE METCALF: Yes. AGENT: Did you kill Olivia Metcalf? LAWRENCE METCALF: No. AGENT: Do you know who's responsible for the death of Olivia Metcalf? LAWRENCE METCALF: She killed herself. AGENT: Please answer "yes" or "no". LAWRENCE METCALF: Yes. AGENT: Did Olivia Metcalf kill herself? LAWRENCE METCALF: Yes. (The agent turns around to look at the men in the observation room.) JACK: He's telling the truth. (DANNY sighs. They both leave the room.) CUT TO: SCENE #30: [INT. FBI - HALLWAY -- DAY] (DANNY walks down the hallway and encounters MARTIN escorting DYLAN LINCOLN. They're on their way to a room for further questioning.) DANNY: Who do we have here? MARTIN: The newest member of our team. Picked him up cruising around Clare's old neighborhood. DANNY: Hello, Dylan. CUT TO: SCENE #31: [INT. FBI -MISSING PERSONS UNIT -- DAY] (DANNY and MARTIN question DYLAN LINCOLN at the conference table.) DANNY: Clare is sick. Thanks to you, she's out on the street all alone. DYLAN LINCOLN: You don't know what you're talking about, all right? Clare, she's just scared. MARTIN: Of what? We know you care about her. That's why you went to visit, that's why you agreed to pick her up. You've been out looking for her since I talked to you. We can find her, Dylan, but you got to tell us what happened last night. (DYLAN sighs.) DYLAN LINCOLN: We were going to the train station. We were going to head to Maine or something. But when I picked her up from Copper Meadows all she could talk about was The Loft. (Quick flashback to:) DYLAN LINCOLN: (v.o.) She had to get back to the loft. (DYLAN and CLARE walk through The Loft. He's carrying her duffle bag.) DYLAN LINCOLN: I'm sure that they realized you're gone. They're going to start looking for you. CLARE METCALF: No, no, we have to find something to prove that he killed that man. We have to stop him. DYLAN LINCOLN: Your dad's a tool, but ... I just, I can't believe that ... CLARE METCALF: You weren't here, you didn't see it! (CLARE points to the bins.) CLARE METCALF: I was there. (She looks at the other side of the room where the man fell off of the edge.) CLARE METCALF: He pushed him. He pushed him here and he fell backwards. His body made a loud sound when he hit the floor. (CLARE looks down and sees the man lying on the metal container, blood spilling from the wound in his head.) WHITE FLASHES TO: (Camera moves in closer to the man, bleeding and eyes open.) CLARE METCALF: (v.o.) I came over and I looked, and he was laying there dead. (Camera cuts to CLARE staring at the body she sees in her head.) CLARE METCALF: He fell right here. (DYLAN looks down at the metal container.) DYLAN LINCOLN: Clare ... Clare, that's only, like, four feet down. CLARE METCALF: (starts to cry) No, no, no, no ... no, it was way down. I saw him, he was laying there. His eyes were open, but he was dead. (CLARE looks down and sees the man, bleeding and eyes open.) WHITE FLASHES TO: (CLARE looks down and sees OLIVIA METCALF lying in a pool of blood.) WHITE FLASHES TO: (The body in front of her eyes change from to the man ... to her mom ... ) CLARE METCALF: Where did he go? DYLAN LINCOLN: Clare, I believe you, okay, I do, I just think that we ought to get out of here. CLARE METCALF: Can't be. DYLAN LINCOLN: Come on. Clare. CLARE METCALF: This didn't happen?! DYLAN LINCOLN: We need to go before somebody finds you ... CLARE METCALF: (screams) No! (CLARE pushes DYLAN out of her way and against the bins in the loft. She tears out of the place.) (End of flashback. Resume to present.) DYLAN LINCOLN: I guess I was out of it for a minute or something because when I got up, she was gone. MARTIN: And she said she looked down and this guy was dead. DYLAN LINCOLN: (nods) Definitely. (DANNY sits down next to DYLAN.) DANNY: Here's what we're going to do. We're going to hook your cell phone up to our tracking system. When she calls you, all you got to do is keep her on the phone. We're going to do the rest. You got it? (DYLAN sighs.) DANNY: I thought so. CUT TO: SCENE #32: [INT. FBI - MISSING PERSONS UNIT -- DAY] (MARTIN and SAMANTHA stand in front of the Whiteboard piecing the events.) (The information on the whiteboard reads: 7A-NY 200481 / "CLARE METCALF".) MARTIN: So she goes to the loft and realizes the murder she thought her father committed never happened. SAMANTHA: But it doesn't make her feel any better. MARTIN: Right. She's only more confused. So she ends up at her old house past and present overlapping and interchanging. Why? (The camera pulls back to include the conference table with CLARE METCALF'S picture paintings spread out on it. DANNY'S been studying them.) DANNY: The answer has to be here. I'm just not seeing it. (MARTIN and SAMANTHA leave the Whiteboard to look at the pictures on the table.) SAMANTHA: Danny, we've looked at those a hundred times; it doesn't help. DANNY: She went to the old house to protect her mother. I thought it was from the father ... MARTIN: ... but he's not the monster. DANNY: No. (DANNY looks down at the picture in front of him of the brick house with the black "monster" with red eyes looming above. He thinks about it for a moment and something clicks.) (He looks at MARTIN.) DANNY: What if she's the monster? (MARTIN nods his head at the possibility and turns to look at the picture in front of him.) (Camera slowly moves to focus on the black "monster" in the picture.) FADE TO BLACK: FADE IN. SCENE #33: [INT. FBI -- CONFERENCE ROOM] (JACK and DANNY meet with LAWRENCE METCALF to talk with him about CLARE.) JACK: Clare told Dylan that she looked down and saw the worker that you hit lying in a pool of blood. But I don't think that that's what happened. I think that she regressed. I think she thought that she was standing on your balcony and what she saw was her mother. LAWRENCE METCALF: Oh, no. (shakes his head) No. Absolutely not. (DANNY carefully watches LAWRENCE METCALF'S reaction.) JACK: Clare drew this. We weren't quite sure what to make of it, but ... (JACK turns a painting of a black tree with red, yellow and orange leaves.) JACK: ... but I believe ... I believe it's her mother. These are her arms outstretched, these red leaves represent the blood. (JACK points to the black "monster" under the tree and brick wall.) JACK: This "monster" represents Clare. LAWRENCE METCALF: (interrupts) You're saying ... JACK: (ignores the interruption) ... all the fear at herself. LAWRENCE METCALF: You're trying to tell me that Clare pushed her? JACK: I'm saying that something happened that day six years ago. (LARENCE METCALF if in full fledged denial mode. He doesn't look at JACK or at DANNY.) LAWRENCE METCALF: No. JACK: I think it was an accident. LAWRENCE METCALF: That didn't happen. (JACK pushes forward, making him listen ... making him see ... ) JACK: I think it did. A fight. (beat) Something to do with the headphones that were found by your wife's body. (LAWRENCE METCALF looks at JACK. The pieces coming together in his own mind.) (Quick pulses of flashback to: ) (CLARE stands outside on the second floor balcony listening to the music through her headphones.) (Cut back to: LAWRENCE METCALF struggling to cope with the pieces of memory in his mind.) (Flashback to: CLARE stands out on the balcony, the music played loudly through the head set.) LYRICS: When I decided why / should I care / 'cause you weren't there when I was scared / I was so alone / yeah / you need to listen / I'm starting to trip, I'm losing my grip / and I'm in this thing alone. (OLIVIA METCALF walks into the room. She turns around and sees CLARE standing outside. She starts walking toward CLARE her mouth moving as if she's saying something to her, but all we can hear is the music played loudly through CLARE'S earphones. CLARE'S not looking at her mother and isn't aware that her mother wants something from her.) (OLIVIA METCALF stops in front of care and says something to her. CLARE still isn't aware that she's even there. OLIVIA METCALF takes another step forward toward CLARE.) (Finally, she reaches out and rips the earphones off of CLARE'S head. CLARE turns around and gets angry. She pushes her mother.) (Her mother falls backward over the balcony ledge.) (CLARE watches her mother fall, a look of anguish and horror on her face at what she's done. She looks over the edge and sees her mother on the ground below, a small pool of blood under her head, her earphones next to her.) (CLARE screams.) (End of flashback. Resume to present.) (LAWRENCE METCALF shakes his head.) LAWRENCE METCALF: No. No. DANNY: You've never considered this possibility? In all these years, you have never considered this as a possibility? LAWRENCE METCALF: Considered it? Did I consider it? Yeah. What was I supposed to do? JACK: You need to deal with it. Your daughter is in a lot of trouble. LAWRENCE METCALF: God, she didn't want to talk about it and I didn't ... and I didn't want to hear it. JACK: Which is how it reached this point. There is a very real danger that your daughter is going to kill herself. LAWRENCE METCALF: Oh, my god. (He covers his face with his hands. He looks at JACK.) Help me. Help me, what am I supposed to do? DANNY: Mr. Metcalf ... where would Clare go if she wanted to be close to her mother? CUT TO: [EXT. NEW YORK CITY BRIDGE (STOCK) - NIGHT] SCENE #34: [EXT. - PARK -- DUCK POND - PAVILLION -- NIGHT] (CLARE METCALF stands alone under the pavillion overlooking the pond.) (Cut to: JACK and DANNY walk toward the pavillion but stay a safe distance away. CLARE isn't aware that they're there.) JACK: (to DANNY) We found her out on the landing. Send in an ambulance; no lights, no sirens. (DANNY looks at JACK and puts a hand on his arm.) DANNY: Let me go talk to her. (beat) Please. (JACK nods.) JACK: Okay. (DANNY walks over to the pavillion ... to CLARE.) CUT TO: SCENE #34: [EXT. - PARK -- DUCK POND - PAVILLION - NIGHT -- CONTINUOUS] (DANNY walks around CLARE and stops a distance away from her.) DANNY: Clare? (She turns around and sees DANNY. The knife is clutched in her hand, arms crossed; its cradled against her body. She takes a few steps toward DANNY.) CLARE METCALF: (warning) Get away from me. (DANNY remains where he is. He doesn't move. He looks at her and shakes his head, reassuring her.) DANNY: I'm not going to hurt you. (He pauses.) My name's Danny. CLARE METCALF: (frightened) Leave me alone. DANNY: I can understand why you want to be alone. It's nice here. Clare, I understand why you feel the way you do. I lost both my parents when I was eleven. We were driving somewhere and they were fighting. (He sighs.) DANNY: My dad was yelling at my mom. He used to like to yell at my mom. I wanted him to stop, so I said something. Then he turned around, and he yelled at me. (CLARE shakes her head. She doesn't say anything, but he knows that she's listening to him.) DANNY: That's when the car started to swerve. I never told anybody that. Ever. And I know what it's like to keep a secret. I didn't mean to do anything wrong that day. I was just a kid ... (DANNY takes a step forward. CLARE takes a small step back.) DANNY: ... just like you. Clare, your mom knows you didn't mean to hurt her. (His voice breaks a little.) She knows you didn't mean to make her fall. CLARE METCALF: (crying) No, no, no. (DANNY takes another step closer to CLARE.) DANNY: She knows that you would do anything in the world to bring her back, Clare. (She cries as DANNY says the words that she needs to hear.) DANNY: But she doesn't want you to do this. Your mother loves you, Clare. (The knife in CLARE'S hand starts to waver as she lowers it. DANNY takes the final steps toward CLARE and closes the distance between them. He reaches out and takes the knife from her loose grip while wrapping his arms around her.) (He holds her tightly as she sobs.) (The flashing lights of emergency vehicles reflect against them.) LYRICS: ["Say Hello, Wave Goodbye", David Gray] ... Standing at the door of the pink flamingo crying in the rain ... (Cut to: JACK talks into a mic.) JACK: Okay, let's move in, nice and easy. (The paramedics are there. JACK stands off to the side.) (And still CLARE cries as DANNY holds on tightly to her. He looks up and sees LAWRENCE METCALF approaching them.) LYRICS: ... here was a kind of so-so love ... (DANNY lets her go as he hands her off to her father. DANNY walks away.) (LAWRENCE METCALF holds on to his daughter as she cries.) LYRICS: and I'm gonna make sure it doesn't happen again / you and I had to be the standing joke of the year (Camera holds on JACK as he walks away from the scene.) LYRICS: you were a runaround, a lost and found / and not for me, I feel CUT TO: [EXT. NEW YORK CITY (STOCK) - NIGHT/MORNING] SCENE #35: [EXT. NEW YORK CITY -- MORNING] (DANNY stands off somewhere alone. He faces out toward the bridge in front of him.) LYRICS: well, I've put up with all the scenes / and this is one scene that's going to be played my way ... (DANNY turns around. He's been crying.) LYRICS: ... take your hands off me ... CUT TO: SCENE #36: [INT. FBI - MISSING PERSON UNIT -- MORNING] (MARTIN wipes the Whiteboard clear. He removes CLARE METCALF'S picture and makes his way back to his desk. He sees DANNY walking into the office toward his desk.) MARTIN: Hey. Morning. DANNY: Hey. MARTIN: I heard about last night. Good job. DANNY: All in a day's work. MARTIN: Right. You want a coffee? I'm going to grab one. DANNY: Yeah. LYRICS: ... Take a look in my face ... (DANNY sits down at his desk and reaches into his jacket pocket. He pulls out a photograph and looks at it for a long time.) LYRICS: ... for the last time / I never knew you, you never knew me / say hello and wave good-bye ... (He reaches up and pins it to his bulletin board. It's a picture of his mother and his father standing behind him, a baseball glove in his hand.) (DANNY leans back and looks at the picture.) LYRICS: ... say hello and wave good-bye / say hello and wave good-bye ... (Camera holds on the picture.) 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 1X16: CLARE DE LUNE ORIGINAL AIR DATE ON CBS: 02/27/2003 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 AMBER TAMBLYN as Clare Metcalf SCOTT PAULIN as Lawrence Metcalf PHILLIP GLENN VAN DYKE as Dylan Lincoln H. RICHARD GREENE JESSICA LUNDY as Dr. Covington RYAN CUTRONA ALLISON MACKIE ROBERT CLOHESSEY RICK D. WASSERMAN BONNIE BURROUGHS JAN MUNROE 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: ALLISON ABNER & JAN NASH Directed by: MEL DAMSKI ======================== 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: SCOTT EILERS Music by PETER MANNING ROBINSON Theme by JOHNNY KLIMEK and REINHOLD HEIL Unit Production Manager: SCOTT "The Bear" MAITLAND First Assistant Director: KEN COLLINS Second Assistant Director: KRISTIN KILLEY Casting by: GARRY M. ZUCKERBROD, C.S.A. Original Casting by RONNA KRESS, C.S.A. and TRACY KAPLAN, C.S.A. Guest Starring ARIA NOELLE CURZON as Sandra SHAILENE WOODLEY as Young Clare 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:03/06/2003~lky http://www.webphilia.com/~anthology/wnp.html