WITHOUT A TRACE 1X22: FALL OUT (PART 1) ORIGINAL AIR DATE ON CBS: 05/08/2003 TRANSCRIBED FROM CBS Written by: HANK STEINBERG Directed by: KEVIN HOOKS Transcript by Intrepid Courtesy of http://webphilia.com/~anthology/wnp.html Do not archive this transcript without permission from the Transcriptionist. 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. CONDITIONS OF USE: (1) Do not alter the content of this file. (2) Leave the headers/disclaimers in tact because it lists all those who have made this transcript possible for your enjoyment. (3) Provide a link back to the site where this file originated: http://www.webphilia.com/~anthology/wnp.html Contact the Transcriptionist at (intrepidly002@yahoo.com) ========================== SUMMARY: The Team investigates the disappearance of the owner of an employment- agency. Typical day, typical case. Until something goes dreadfully wrong at the ransom drop-off, the situation escalates and hostages are taken at gunpoint. With Samantha on the inside and Jack and Martin on the outside, they all work together to get the hostages out. Meanwhile, Vivian and Danny continue to search for the missing woman. ========================== WITHOUT A TRACE 1X22: FALL OUT (PART 1) ========================== FADE IN. SCENE #01: [INT. OFFICE BUILDING - LOBBY - DAY] (SYDNEY HARRISON walks into the building lobby. She walks up to the counter and hands the newspaperman some money.) SYDNEY HARRISON: Hi. AHMED: Hey. (AHMED takes the money and gives SYDNEY a newspaper.) SYDNEY HARRISON: Thanks, Ahmed. AHMED: You're welcome, Sydney. Have a nice day. SYDNEY HARRISON: Thanks. (SYDNEY looks at the newspaper and walks up to the elevators. She presses the button unaware of the man holding some flowers standing off to the side.) (The man stares at SYDNEY and starts to walk toward her. He stops when a man's voice calls out to SYDNEY from the side. SYDNEY looks up.) SYDNEY'S PARTNER: Hey, partner. SYDNEY HARRISON: Hey. You're in a hurry. SYDNEY'S PARTNER: I got that McKenna thing this morning. Damn it, I left my briefcase in the gift shop. I'm a mess today. (SYDNEY'S PARTNER runs back to the gift shop.) (The elevator doors open.) SYDNEY HARRISON: (calls out) You want me to hold the elevator? SYDNEY'S PARTNER: Uh, no, no, I'll see you up there. SYDNEY HARRISON: Okay. (SYDNEY walks into the elevator. The MAN watching her drops the bouquet of flowers in the trash and rushes to get into the same elevator with her.) (He stands in front of the panel.) SYDNEY HARRISON: (leans forward) Six for me, please? (He puts his hand in front of his mouth.) BARRY MASHBURN: (muffled) Uh, it's going down. SYDNEY HARRISON: It is? BARRY MASHBURN: Yeah. SYDNEY HARRISON: I'll take a ride. (As the doors close, BARRY MASHBURN pulls down his ski mask and covers his face.) (The elevator doors close.) BLUR OUT: BLUR IN: SCENE #02: [INT. OFFICE BUILDING - LOBBY -- DAY] (Crime scene tape is placed over the elevator door.) (SAMANTHA interviews AHMED. They stand in the middle of the lobby.) AHMED: She bought her paper, like usual. That was it. SAMANTHA: Do you remember seeing anyone suspicious? AHMED: Suspicious? SAMANTHA: Ah ... hanging around, loitering, that sort of thing. AHMED: (shakes his head) Um, no ... I'm sorry. (Behind them, JACK walks into the building through the front doors.) SAMANTHA: Okay, thank you. (AHMED leaves. SAMANTHA walks toward JACK.) JACK: Give me the rundown. (SAMANTHA looks at her notes.) SAMANTHA: Okay ... the woman's name is Sydney Harrison, 41 years old, caucasian, divorced, no children. Owns and runs a small employment agency on the sixth floor. She was on her way up to work when someone grabbed her in the elevator. JACK: What time? SAMANTHA: About nine. JACK: Everybody on their way to work, crowded lobby, pretty risky move. (They both head for the elevator.) SAMANTHA: He could have been staking her out for days, waiting for the right moment. JACK: Did he take her out through the underground garage? SAMANTHA; Looks that way, but we got no witnesses. (JACK ducks under the crime scene tape and enters the elevator. SAMANTHA follows.) JACK: What have you got? OFFICER: Spray paint on the security camera. CUT TO: SCENE #03: [INT. OFFICE BUILDING - LOBBY - SECURITY DESK -- DAY] (On video: The masked man turns around toward the camera and sprays the lens with spray paint while SYDNEY watches.) JACK: Could you, uh, stop the tape there? Rewind it. (The security guard plays the tape again.) (On video: We see The MAN in front of the control panel, SYDNEY leans forward a little and says something to him. The MAN puts his hand over his mouth and replies.) JACK: You see that? Covering his mouth with his hand, trying to disguise his voice. He knows her. SAMANTHA: Maybe the ski mask isn't just for the camera. (SAMANTHA'S phone rings. She answers it.) SAMANTHA: (to phone) Yeah. JACK: (to the SECURITY GUARD) I'm going to need the original copy of this tape. SAMANTHA: (to phone) Thanks. We'll be right up. (she hangs up) (to JACK) We just got a ransom note, upstairs in her office. JACK: (to the SECURITY GUARD) I'll be back for that. (JACK and SAMANTHA leave.) (SLOW MOTION on Video: The MAN in the ski mask turns around and sprays paint onto the camera lens while SYDNEY HARRISON watches. The lens blackens out.) CUT TO END OF TEASER ROLL TITLE CREDITS (COMMERCIAL SET) FADE IN. [EXT. NEW YORK CITY (STOCK) - DAY] LEGEND: 3 HOURS MISSING SCENE #04: [INT. EMPLOYMENT AGENCY -- DAY] (SYDNEY'S PARTNER walks through the main office and into his office. He shows JACK and SAMANTHA the e-mail on his computer.) SYDNEY'S PARTNER: It came on my computer five minutes ago. I don't know how we're going to come up with that kind of money so quickly. JACK: Have you responded to this e-mail yet? SYDNEY'S PARTNER: No, of course not. JACK: Would you mind giving us a few seconds? SYDNEY'S PARTNER: Sure, of course. (SYDNEY'S PARTNER leaves the office.) (JACK and SAMANTHA look at the e-mail. It reads: [ ... 672.664.21.15 ... 5/5/02 11:04 a.m. ... HowardH@rightemployment.com Subject: (None) We have Sydney Harrison. If you ever want to see her again, follow our instructions and don't call the police. You have until two o'clock to get six hundred eighty seven thousand dollars ready. At that time, you will hear from us again. Be prepared to deliver the money.] JACK: (reading) "We have Sydney Harrison. If you ever want to see her again, follow our instructions, don't call the police. You have until two o' clock to get six hundred eighty seven thousand dollars ... at that time, you will hear from us again. Be prepared to deliver the money." (SAMANTHA glances at her watch.) SAMATHA: Two o'clock? That's only three hours to get everything organized. JACK: Well, let's see if we can stall them. (JACK leans over and types in the following response: "It's going to take time to get that kind of money." (He hits enter. An error message box pops up, "Your Message is Undeliverable.") (They both stand up.) SAMANTHA: Okay, then. JACK: Let's get started. (They both leave the office.) CUT TO: SCENE #05: [EXT. SIDEWALK -- DAY] (MARTIN and DANNY walk along the sidewalk.) DANNY: 687 grand? That's a pretty random number, huh? MARTIN: Yeah, it is. It's got to be symbolic, you know, personal, something like that. Well, she's no Bill Gates. $82,000 in equity is her personal savings. I don't know where these idiots think she's going to come up with that kind of money. DANNY: Her company? MARTIN: No, they'd never raise it that fast. We're going to have to go to our own banks first. DANNY: How about the e-mail? MARTIN: Untraceable so far. The techies are taking the computer to the field office. Next e-mail will come in there. (They turn the corner and meet up with VIVIAN. VIVIAN points at the ATTENDENT being interviewed by a Detective.) VIVIAN: Hey. The attendant's been here since 7:00. MARTIN: He see anything? VIVIAN: White ford conversion van parked right there. That door leads to the elevator. He was just about to have the van towed when another car pulls in. He parks the other car, and when he comes back, the van's gone. DANNY: So he waits for her in a crowded lobby, intercepts her in a security elevator, parks in a tow-away zone and still manages to get her out of here without anybody seeing a thing. This guy's either a criminal genius, or a complete moron. MARTIN: 'Lucky' moron, so far. CUT TO: SCENE #06: [INT. EMPLOYMENT AGENCY - SYDNEY'S PARTNER'S OFFICE -- DAY] (JACK interviews SYDNEY'S PARTNER.) SYDNEY'S PARTNER: This is insane ... Sydney was just getting back on her feet, and now this. JACK: "Back on her feet" in reference to what? SYDNEY'S PARTNER: Our old offices were in the World Trade Center. JACK: Sorry. SYDNEY'S PARTNER: There were eighteen of us. We lost fifteen. JACK: Were you there? SYDNEY'S PARTNER: No, um ... we were the lucky ones. JACK: Right. (pause) We believe that the man who took Sydney knew her. Possible that it's a disgruntled client? SYDNEY'S PARTNER: Well, there are a lot of people that we can't find jobs for these days. JACK: What about employees? Anybody fired recently? SYDNEY'S PARTNER: Jim Thatcher. JACK: When was this? SYDNEY'S PARTNER: Last Thursday. JACK: What for? SYDNEY'S PARTNER: I'm not sure, um ... Sydney talked to him alone, and she-she wouldn't say why she let him go. JACK: Was he angry when he left? SYDNEY'S PARTNER: Yeah, he was. CUT TO: SCENE #07: [EXT. SIDEWALK -- DAY] (MARTIN is on the phone with JACK. DANNY ducks under the crime scene tape and joins MARTIN on the sidewalk.) MARTIN: (to phone) Okay, got it. (he hangs up) That was Jack. He wants us to check out a disgruntled employee a guy named Jim Thatcher. DANNY: Thatcher? MARTIN: Yeah. (They both walk out of camera frame.) CUT TO: [EXT. STREET OUTSIDE SYDNEY HARRISON'S APARTMENT - DAY] LEGEND: 4 HOURS MISSING SCENE #08: [INT. SYDNEY HARRISON'S APARTMENT -- DAY] (Camera pans slowly across the hallway table. It has several framed photographs of SYDNEY, of the Two Towers at night, and of other photos of herself with friends and family.) (VIVIAN walks around holding a framed plaque containing the poem by Dawna Markova.) SYDNEY HARRISON: (v.o.) "I will not die an unlived life. I will not live in fear of falling or catching fire. I choose to inhabit my days, to allow my living to open me, to make me less afraid, more accessible. ... (The camera pans away and stops at a mirror.) (Blur into: SYDNEY HARRISON walks around in her apartment. She holds a watering can in her hand.) SYDNEY HARRISON: (v.o.) " ... I choose to risk my significance. To live so that which comes to me as seed ... (SYDNEY blurs out. The camera moves back into the room and shows SYDNEY talking and laughing with someone on the phone. She walks over to the couch and sits down.) SYDNEY HARRISON: (v.o.) " ... goes to the next as blossom. And that which comes to me as blossom, goes on as fruit." (Cut to: SYDNEY'S reflection in the mirror.) (Blur out. End of visualization. Resume to VIVIAN'S reflection in the mirror.) (VIVIAN puts the framed quote down.) CUT TO: SCENE #09: [EXT. HOTEL SIDEWALK -- DAY] (MARTIN walks out of the hotel and onto the sidewalk. He joins DANNY who is leaning against the car, arms crossed.) MARTIN: Guy wasn't there. DANNY: We got an hour before the drop, and for all we know, this guy could be in Puerto Rico. How long do we have to wait? (MARTIN looks off to the side, then down at the photograph in his hand. He tucks the photo back in this coat pocket.) MARTIN: Another ten seconds. (Down the sidewalk holding a paper bag of groceries is JIM THATCHER. MARTIN sees him.) DANNY: Yeah, then what happens? MARTIN: We interrogate him. (DANNY turns his head and sees JIM THATCHER. He stands up. Both he and MARTIN go to meet with JIM THATCHER.) DANNY: Mr. Thatcher, FBI. Mind if we ask you a couple questions? JIM THATCHER: What's this about? DANNY: Where were you this morning at 9:00 A.M.? JIM THATCHER: I was home, why? MARTIN: Your former employer, Sydney Harrison's been kidnapped. JIM THATCHER: (thinks its a joke) Come on. DANNY: You think that's funny? JIM THATCHER: (seriously) No. Jeez, of course not. DANNY: Why'd she fire you? JIM THATCHER: Because she's a hypocrite, that's why. MARTIN: Elaborate for us. JIM THATCHER: She asked me to cut a phony payroll check. I took a little extra ... (Quick flashback to: JIM THATCHER sits across the desk from SYDNEY HARRISON.) JIM THATCHER: ... for myself. That's the least I can do when you're asking me to break the law. SYDNEY HARRISON: You stole from me. JIM THATCHER: You're embezzling from the company, what's the difference? SYDNEY HARRISON: I told you, that check was for a friend in need. JIM THATCHER: Oh, so then why don't you give him the money out of your pocket? SYDNEY HARRISON: Because he has too much pride. (End of flashback. Resume to present.) JIM THATCHER: I didn't buy it for a second. MARTIN: What was her friend's name? JIM THATCHER: (shrugs) Barry Mashburn. DANNY: How much was the check for? JIM THATCHER: Ten grand. I made it out for nine and change. I was going to keep the little extra for myself, you know ... MARTIN: (interrupting) Think we could take a look in your apartment? JIM THATCHER: Yeah. I got nothing to hide. Come on. (MARTIN follows JIM THATCHER into the hotel. DANNY takes out his cell phone.) DANNY: (to MARTIN) I'm going to check out this Barry Mashburn. (to phone) Steve, yeah, I need a "Barry Mashburn". CUT TO: SCENE #10: [INT. EMPLOYMENT AGENCY -- DAY] (LIBBY COULTER, SYDNEY'S Personal Assistant, pulls out the file from the filing cabinet.) LIBBY COULTER: Here we go. Barry Mashburn. (She gives it to SAMANTHA.) SAMANTHA: Great, thank you. Do you remember anything in particular about him? LIBBY COULTER: She took all of his calls personally. She was very invested in him. SAMANTHA: Okay, now what are all these notations right here? (SAMANTHA points to the sheet in the file.) LIBBY COULTER: Any time she calls a potential employer for a client, she marks it down. (SAMANTHA looks through the file.) SAMANTHA: Wow, she really worked hard for him. LIBBY COULTER: Sydney's amazing. Relentless. If she can't place you, you're unplaceable. CUT TO: [EXT. NEW YORK CITY (STOCK) - DAY] SCENE #11: [INT. FBI - MISSING PERSONS UNIT - BULLPEN -- DAY] (The AGENT works at putting in electronic devices into the stacks of money. JACK sits across the table from him waiting for him to finish.) AGENT: Do you want a transmitter? JACK: Yeah. (MARTIN walks into the bullpen.) MARTIN: Jack. We just got the drop location. JACK: Okay. (to the AGENT) You got two minutes. (JACK stands up and joins MARTIN. MARTIN fills him in.) MARTIN: We traced the e-mail that copied that central server. There's 52 of them in Manhattan, 22 in the Midtown, Downtown area. JACK: That really helps us narrow it down. MARTIN: Yeah, no kidding. (They walk out of the office.) CUT TO: SCENE #12: [INT. EMPLOYMENT AGENCY -- DAY] (SAMANTHA'S phone rings. She answers it.) SAMANTHA: Yeah. INTERCUT WITH: JACK: The drop's going to happen at a bookstore on Waverley called "The Table of Contents". SAMANTHA: Yeah. I know it. JACK: They want somebody named Libby Coulter to make the delivery. SAMANTHA: (lowers her voice) That's Sydney's Assistant. JACK: Right. You know the Revival Movie House across the street? (JACK walks over to the map on the monitor.) SAMANTHA: Uh-huh. JACK: I want you and Libby to meet me in the adjacent alley in fifteen minutes. SAMANTHA: Okay. (JACK hangs up.) (MARTIN appears in the doorway.) MARTIN: Ready, boss? (JACK tucks his phone away and joins MARTIN. The two leave the office.) JACK: Yeah. Everything's going to be fine. We've got it under control. (Cut to: LIBBY COULTER stands in front of window making herself a cup of coffee. She looks up at SAMANTHA.) CUT TO: SCENE #13: [EXT. OUTSIDE REVIVAL MOVIE HOUSE - DAY] LEGEND: 5 HOURS MISSING (Camera opens on the Movie House. "Them" is currently playing there.) (MARTIN walks along the sidewalk and passes JACK who is instructing a very nervous LIBBY COULTER on what's she's supposed to do.) JACK: Everything's fine. We've got it under control. LIBBY COULTER: I'll do whatever I need to do to help Sydney. JACK: Now, I think the reason that he picked you is because he knows what you look like. So when you go in there, if you recognize him ... don't talk to him. Don't identify him in any way. Just walk into the travel section. Put the bag down, and walk out. LIBBY COULTER: (nods) Okay. JACK: Look at me. Okay, now, say the words. Repeat what I just said to you. LIBBY COULTER: Um ... walk in there, leave the bag in the travel section, walk away. JACK: Okay, good. (SAMANTHA gets out of the van. She's now dressed casually.) JACK: This compact ... it has a microphone. You're going to put it in your bag so we can hear everything that's going on. (JACK slips the compact in her bag.) LIBBY COULTER: Okay. JACK: Okay? Agent Spade -- she's going to be in the bookstore with you. She's going to cover you if anything goes down, but under no circumstances do you acknowledge her. LIBBY COULTER: Right ... (looks at SAMANTHA) We spoke about that. SAMANTHA: Right. LIBBY COULTER: Right. JACK: (to SAMANTHA) Go. (SAMANTHA leaves for the bookstore.) JACK: This is going to be fine. (LIBBY laughs nervously.) JACK: It'll be over in ten minutes. Okay? (LIBBY takes a deep breath.) CUT TO: SCENE #14: [EXT. SIDEWALK] (LIBBY COULTER carries the bag full of money toward the bookstore.) (From their position in the car, MARTIN watches LIBBY through a pair of binoculars.) CUT TO: SCENE #15: [INT. THE TABLE OF CONTENTS (BOOKSTORE) -- DAY] (SAMANTHA is already inside the bookstore. She looks around at the people inside. She sees CHERYL sitting in a chair, flipping through a magazine. She sees KYLE, CHERYL'S SON, sitting at a table, his back toward her. Near the window, she sees the figure of a man looking through a book. He looks up at her. She smiles and looks back down at the display table of books in front of her.) (SAMANTHA continues to look at the people in the room. She sees RICHARD in an aisle, leafing through a hard-cover book.) CUT TO: SCENE #16: [EXT. STREET -- DAY] (In a white van across the street, MARTIN and JACK wait.) CUT TO: SCENE #17: [INT. THE TABLE OF CONTENTS - DAY -- CONTINUOUS] (The man near the window looks up at the door as the door chimes ring. LIBBY COULTER walks in.) TED: Hey, can I help you with something? (LIBBY looks at him.) LIBBY COULTER: Um, where's your travel section? TED: Over there. Are you looking for anything in particular? LIBBY COULTER: No, thanks. (LIBBY walks past RICHARD, who looks up at her, and heads for the travel section.) (SAMANTHA keeps an eye on LIBBY. LIBBY walks toward the travel section. RICHARD rounds the bookshelf and angles his view toward her, the book still open in front of him.) CUT TO: SCENE #18: [INT. VAN - DAY -- CONTINUOUS] (MARTIN continues to watch through the binoculars.) MARTIN: She's doing good. JACK: Yep. CUT TO: SCENE #19: [INT. THE TABLE OF CONTENTS - DAY -- CONTINUOUS] (LIBBY tries not to look around. She puts the money bag down. She turns and heads back to the front door.) TED: Uh, miss? (LIBBY stops and looks at TED.) TED: (points) You forgot your bag. INTERCUT WITH: JACK: Oh, for crying out -- he's trying to give her the bag back, shut up! LIBBY COULTER: Oh, um, I'm ... just going to feed my meter. It, it's kind of heavy, so I just ... so ... (The man hidden near the windows makes his move toward the bag. LIBBY accidentally turns her head and looks at him. Her face freezes as she definitely recognizes him.) (The MAN puts his head down and heads for the money bag.) (SAMANTHA sees LIBBY'S reaction. She turns her head to see what LIBBY'S looking at.) (The MAN, BARRY MASHBURN, leans down and picks up the bag. He walks toward the front door. RICHARD grabs his arm to stop him.) RICHARD: Hey, pal, that's not your bag. Hey, hey, hey! It's not ... ! (BARRY MASHBURN pushes RICHARD aside.) BARRY MASHBURN: Hey! Get the hell off! (He pulls out a gun and points it at RICHARD. LIBBY runs off to the side. SAMANTHA automatically crouches down to the ground.) (BARRY MASHBURN holds the gun out in front of him, wildly swinging it from side to side. He turns around and spots LIBBY hiding in a corner, clutching her bag closer to her.) LIBBY COULTER: (muttering to/over microphone) It's Barry Mashburn. CUT TO: MARTIN: Damn it! CUT TO: LIBBY COULTER: (whispering) It's Barry Mashburn. It's Barry ... (LIBBY stops when she realizes that BARRY is standing right next to her with the gun pointed at her.) (SAMANTHA is still rooted to her spot, watching everything unfold in front of her.) BARRY MASHBURN: Hey, who you talking to? Who you talking to? Cops, huh? Cops are here? (BARRY rushes to look out the glass door.) (BARRY sees FRAN standing half-hidden behind a display rack near the door. He grabs her and puts his arm around her neck, the gun pointed to her head.) FRAN: (shouts): Oh, god! BARRY MASHBURN: All right, nobody move! Or I'll shoot! (Cut to: MARTIN and JACK listen in the van as everything unravels. JACK puts a hand to his forehead.) BARRY MASHBURN: (over microphone) Get over here! Get over here! (Cut back to: BARRY edges himself and FRAN to the door.) BARRY MASHBURN: Uh, uh ... (TED moves from around the counter.) BARRY MASHBURN: Everybody down! Down! Everybody down! (LIBBY COULTER slowly moves to the floor.) BARRY MASHBURN: (screams) Down! I said down! (RICHARD goes down to the floor.) BARRY MASHBURN: (to KYLE and CHERYL) You, get over here! Get over here! (CHERYL and KYLE get down on the floor.) BARRY MASHBURN: (waves the gun around) Over here, come on! On the floor. (BARRY turns around and grabs LIBBY'S bag. He opens the front door and tosses it outside.) CUT TO: SCENE #20: [EXT. SIDEWALK - DAY -- CONTINUOUS] (BARRY tosses the bag out the door. He goes back into the bookstore and closes the door behind him.) MARTIN: (v.o.) We just lost audio. CUT TO: SCENE #21: [INT. THE TABLE OF CONTENTS (BOOKSTORE) - DAY -- CONTINUOUS] (SAMANTHA takes the opportunity and pushes her bag off to the side in between two shelves. RICHARD sees her. SAMANTHA sees that RICHARD saw her. She shakes her head and motions for him to keep quiet.) (RICHARD turns to look over at BARRY MASHBURN who is now leaning against the front door that he just locked.) BARRY MASHBURN: I said "no cops!" There's cops here! (BARRY starts to search the people inside the room. He heads first to TED.) BARRY MASHBURN: Are you a cop? Are you a cop? Huh? (BARRY heads for RICHARD and searches him.) BARRY MASHBURN: What about you? Are you a cop? Huh? (RICHARD looks up at SAMANTHA. SAMANTHA remains on the floor, keeping a sharp eye on everything.) CUT TO: SCENE #22: [INT. VAN] (MARTIN watches the bookstore with the binoculars. JACK is on the phone.) JACK: (on the phone) The situation has changed dramatically. I'm going to need you to contact the NYPD. Set up an out-of-perimeter. Nobody in or out. And also, notify SWAT. CUT TO: SCENE #23: [INT. THE TABLE OF CONTENTS - DAY -- CONTINUOUS] (BARRY MASHBURN continues on to check CHERYL, who covers KYLE protectively.) BARRY MASHBURN: What about you? Down! Down! (BARRY looks at SAMANTHA, the last person to search.) BARRY MASHBURN: What about you? (SAMANTHA watches as BARRY approaches her.) FADE TO BLACK. (COMMERCIAL SET) FADE IN. SCENE #24: [EXT. STREET OUTSIDE BOOKSTORE - DAY] (Sirens fill the air and Officers clear the streets. Cop cars arrive at the scene and SWAT team members take up their position outside the bookstore.) (The road in front of the bookstore is blocked.) CUT TO: SCENE #25: [INT. THE REVIVAL MOVIE HOUSE - DAY -- CONTINUOUS] LEGEND: 6 HOURS MISSING (JACK and MARTIN make their way through the back of the Revival Movie House. JACK gives MARTIN instructions.) MARTIN: Subway station has been shut down and secured. JACK: Great. We're going to need a supply of food and water. We need to hook up a direct line to the bookstore. We need to set up a rain-down. So I want to blast the heat in the bookstore, okay? Set the furnace up to 100 degrees. Bring it down to 85. Keep it level. MARTIN: Right. (MARTIN leaves to get it done. JACK'S phone rings. He answers it.) JACK: (to phone) Yeah. INTERCUT WITH: [INT. FBI - MISSING PERSONS UNIT - BULLPEN - DAY] DANNY: All right. Here's what I got so far on Barry Mashburn. 42 years old, widowed, wife's name -- Nicole. She was 38. JACK: Nicole. How'd she die? DANNY: Doesn't even say when she died. All I got is a "wife deceased" off his last tax return. JACK: Kids? DANNY: Peter, 12; Wendy, 10. JACK: Finances? DANNY: They're not good. Made only 17 grand last year. He's been out of work for the last three months. JACK: Has he got a record? DANNY: He's clean -- DMV says he's got a white ford van that matches the description of the getaway car. JACK: And where does he live? DANNY: Got an address for him in Brooklyn. I'm on my way there right now. JACK: Great. (JACK hangs up.) (From his position near the window, MARTIN lifts up the binoculars and looks at what's going on inside the bookstore across the street.) (JACK joins MARTIN near the window. He looks outside as he listens to his phone ring. He waits for someone to answer the phone inside the Bookstore.) CUT TO: SCENE #26: [INT. THE TABLE OF CONTENTS (BOOKSTORE) - DAY -- CONTINUOUS] (The phone inside the bookstore rings.) (BARRY points at RICHARD and TED.) BARRY MASHBURN: All right, uh-uh, you and you, uh, take that bookcase, move it in front of that door. (The phone continues to ring. They slowly stand up.) BARRY MASHBURN: (shouts) Now! (The two men scramble to their feet. They both try to move the bookshelf.) RICHARD: It's too heavy. BARRY MASHBURN: T-t-take the books out. (The phone continues to ring.) TED: You want me to answer that? BARRY MASHBURN: If I want you to do something, I'll tell you, okay? (RICHARD and TED open the bookshelf doors and start taking the books out.) CUT TO: SCENE #27: [INT. THE REVIVAL MOVIE HOUSE - DAY -- CONTINUOUS] (MARTIN watches the activity inside the bookstore.) MARTIN: Hey, Jack, I think they're doing something with the bookshelves. (JACK'S phone continues to ring.) JACK: Can I look? MARTIN: Yeah. (MARTIN hands JACK the binoculars.) CUT TO: SCENE #28: [INT. THE TABLE OF CONTENTS (BOOKSTORE) - DAY - CONTINUOUS] (RICHARD, tired, looks up at BARRY.) RICHARD: Oh, come on, man, it's still too heavy. Look, why don't you just close the blinds? (The phone continues to ring.) (BARRY looks around at the blinds. How obvious.) BARRY MASHBURN: All right, all right, all right. (to TED) Close the blinds. (He motions to RICHARD.) You take care of the ones in the back. RICAHRD: Yeah, all right. CUT TO: SCENE #29: [INT. THE REVIVAL MOVIE HOUSE - DAY -- CONTINUOUS] MARTIN: What are they doing? (MARTIN watches as TED closes the front window blinds.) MARTIN: (whispering) Oh, great. (murmuring under his breath) Ah, son of a bitch. CUT TO: WHITEBOARD: 7A-NY-209361 "SYDNEY HARRISON" 41 YRS (Camera pans along the whiteboard and stops at a colored photograph of SYDNEY HARRISON.) SYDNEY HARRISON: (v.o.) "May 5, 2003 ... I feel so badly ... SCENE #30: [INT. SYDNEY HARRISON'S APARTMENT - DAY] (VIVIAN sits on the couch reading through SYDNEY HARRISON'S personal journal.) (Behind her sitting at the desk near the wall, a visualization of SYDNEY HARRISON appears sitting in the chair writing in her journal.) SYDNEY HARRISON: (v.o.) "Barry. God, Barry ... waiting for me downstairs last night in the lobby, with that beaten-down expression and those sad, lost eyes." (SYDNEY looks up from her journal and remembers.) (Blur into: Quick flashback of: Camera close up of BARRY MASHBURN. The elevator bell rings. BARRY closes his eyes for a moment. SYDNEY HARRISON walks out of the elevator and down the steps. BARRY opens his eyes and turns around. He sees SYDNEY.) BARRY MASHBURN: Hey. I thought you were going to call me. SYDNEY HARRISON: Oh. I-I'm sorry, Barry. I-I was going to call you tomorrow. Did you get the check? BARRY MASHBURN: (shakes his head) No. What check? SYDNEY HARRISON: There was an old, uh, payroll check from your last job, but we sent it to your mother-in-law's address. BARRY MASHBURN: No, I haven't been over there. You know, I ... SYDNEY HARRISON: Well, you should go get it. BARRY MASHBURN: (agitated) I don't need a couple hundred bucks. I need a job. (SYDNEY grabs BARRY'S arm and steers him to the side of the lobby.) SYDNEY HARRISON: Well, I-I know that. I know that. I know, and I'm trying. (BARRY stops walking and turns around.) BARRY MASHBURN: Nicole would have been able to find me a job. Nicole carried you. She had the relationship with all the clients. She-she-she, uh, she set up all the meetings, you know? SYDNEY HARRISON: Barry, this isn't productive. BARRY MASHBURN: I'm tired. I'm tired of getting the runaround because I remind you of my wife, and you can't take it! I ... you owe us! SYDNEY HARRISON: I promised you that I would do everything I can, and I have been. Please, I-I have to get home. (SYDNEY walks around BARRY and leaves. BARRY turns around and watches SYDNEY walk away from him.) (Blur to: End of flashback. Resume back to SYDNEY HARRISON.) (SYDNEY remembers.) SYDNEY HARRISON: (v.o.) "Do I not look him in the eye because of Nicole? (SYDNEY resumes writing in her journal.) SYDNEY HARRISON: (v.o.) I thought I saw him this morning outside the coffee shop, but then it was just some poor homeless guy. Must be my guilty conscience talking." (SYDNEY finishes writing in her journal. She vanishes. End of visualization. Resume to present.) (Camera moves backward slowly to show VIVIAN still on the couch looking through the journal. She flips the pages over as she continues to peruse through it.) (She reaches the last entry and flips through the blank pages.) CUT TO: WHITEBOARD TIMELINE: 3 DBD - CONFRONTS SYDNEY IN LOBBY SCENE #31: [INT. TABLE OF CONTENTS (BOOKSTORE) - DAY] (The phone inside the bookstore rings. The hostages sit on the floor. BARRY paces the floor trying to figure out what to do.) RICHARD: (impatient) For god sakes, answer the phone! BARRY: (turns around) Shut up! (The ringing continues.) BARRY: (to RICHARD) You have a very big mouth. RICHARD: And you don't have much of a plan here, so you better pick up the phone. FRAN: (nervously) Shut up, man. SAMANTHA: Everybody just chill out, okay? BARRY: Shut up, okay? Everyone, shut up! Gotta think! (SAMANTHA watches BARRY carefully.) (The ringing continues.) CUT TO: SCENE #32: [INT. THE REVIVAL MOVIE HOUSE - DAY] LEGEND: 7 HOURS MISSING (MARTIN is on the phone.) MARTIN: (to phone) All right, keep me posted. (MARTIN hangs up his cell and makes his way around the counter and toward the WHITEBOARD. JACK is on the phone listening to it ring on the other end, waiting for someone inside the bookstore to pick it up.) MARTIN: Jack, that was Vivian. Barry Mashburn's wife was Sydney's old assistant. She died on 9-11. JACK: What, and you think that Barry blamed Sydney? MARTIN: Apparently he confronted her in the lobby of her building three days ago, and he was described as angry and resentful. You think Sydney's still alive? (MARTIN takes out a pen and on the WHITEBOARD adds to the list under "MONEY": REVENGE.) CUT TO: SCENE #33: [INT. TABLE OF CONTENTS (BOOKSTORE) - DAY -- CONTINUOUS] (The phone continues to ring. SAMANTHA sits and waits. Finally, she moves to take off her sweatshirt jacket. Because of the temperature, it's growing hot inside the bookstore.) (BARRY sees the sudden movement and swings around.) BARRY MASHBURN: Hey, hey, hey. What are you doing? SAMANTHA: (stops) It's hot in here. (He backs down.) BARRY MASHBURN: All right. SAMANTHA: Okay. (SAMANTHA takes off her sweatshirt jacket. The telephone continues to ring.) SAMANTHA: Can I use the bathroom? BARRY MASHBURN: No, no, no. No. SAMANTHA: Look, I'm really scared, and ... I need to go to the bathroom. (pleading) Can I please go to the bathroom? (RICHARD watches SAMANTHA.) (The phone continues to ring.) (CHERYL holds on to KYLE, her eyes glued to BARRY.) BARRY MASHBURN: All right, um, uh-uh, (to TED) wh-where's the bathroom? TED: (points) It's over there. BARRY MASHBURN: Let's go. Come on. (SAMANTHA stands up. She stops when BARRY turns to the rest of the group.) BARRY MASHBURN: Nobody move, all right? (BARRY back up. SAMANTHA takes a couple of steps.) BARRY MASHBURN: Come on! Come on, come on. Where's your cell phone? SAMANTHA: (shakes her head) I don't have a cell phone. BARRY MASHBURN: All right, I'm going to have to search you again. You know ... SAMANTHA: (nods) Okay. BARRY MASHBURN: All right. SAMANTHA: Um ... (SAMANTHA holds out her arms away from her body. BARRY pats her down.) BARRY MASHBURN: Okay. (SAMANTHA walks into the bathroom. The rest of the group watches. BARRY resumes keeping an eye on the group.) (The telephone continues to ring.) CUT TO: SCENE #34: [INT. TABLE OF CONTENTS - BATHROOM - DAY -- CONTINUOUS] (SAMANTHA enters the bathroom and closes the door. She sighs and immediately tries to pull herself together.) SAMANTHA: (sotto voce) Okay. Think, think, think, think, damn it. (SAMANTHA sits down on the toilet.) SAMANTHA: Think, think, think, think. CUT TO: SCENE #35: [INT. TABLE OF CONTENTS (BOOKSTORE) - DAY -- CONTINUOUS] (Standing outside next to the bathroom, BARRY MASHBURN leans against the door and closes his eyes. He waits for SAMANTHA.) (The phone continues to ring.) CUT TO: SCENE #36: [INT. EMPLOYMENT AGENCY - OFFICE - DAY] LEGEND: 8 HOURS MISSING (VIVIAN interviews SYDNEY'S PARTNER.) SYDNEY'S PARTNER: Barry Mashburn? I can't believe it. VIVIAN: Do you think that he somehow blames Sydney for what happened to Nicole? SYDNEY'S PARTNER: No. Well ... not that I ever saw. She only tried to help him. He was here just last week. He seemed ... desperate but not crazy. (Blur to: Quick flashback of: SYDNEY escorts BARRY MASHBURN out of the office.) SYDNEY HARRISON: I'm going to call you in a couple of days, okay? BARRY MASHBURN: All right, thank you. Thank you. (SYDNEY and BARRY hug.) SYDNEY HARRISON: You're welcome. (BARRY walks away from the office. SYDNEY walks back inside her office. Her partner follows her and closes the door behind him.) SYDNEY'S PARTNER: What'd you tell him? SYDNEY HARRISON: That we'd keep trying. SYDNEY'S PARTNER: Sydney ... SYDNEY HARRISON: What? SYDNEY'S PARTNER: He's not your personal responsibility. SYDNEY HARRISON: (scoffs) Well, I-I never said he was. SYDNEY'S PARTNER: You don't have to. (SYDNEY turns to look at her partner.) SYDNEY'S PARTNER: It's not our fault that we weren't there that day. If the man doesn't want to help himself, we can't help him. That's all I'm saying. SYDNEY HARRISON: Mm. (SYDNEY'S PARTNER turns and leaves the office.) SYDNEY'S PARTNER: (v.o.) You know, before 9-11, Sydney was ... (Blur out: End of flashback. Resume to present.) SYDNEY'S PARTNER: ... kind of cold. You know, business was business. Getting jobs for people was a numbers game to her. But afterwards, she changed. I mean, she really changed. Everyone who came through this door, it was personal with her. And no one more than Barry. CUT TO: SCENE #37: [INT. TABLE OF CONTENTS (BOOKSTORE) - DAY] (BARRY bangs on the bathroom door.) BARRY MASHBURN: Come on, let's go! What are you doing in there? (Cut to: Inside the bathroom, SAMANTHA turns on the faucet and washes her hands. She dries her hands on the towel.) SAMANTHA: Just a sec! (Outside, BARRY sighs impatiently.) SAMANTHA: (through the door) Coming. (Cut to: SAMANTHA flushes the toilet.) (Cut to: SAMANTHA opens the bathroom door and exits. She immediately starts to apologize to BARRY.) SAMANTHA: Sorry, I ... I was just .... BARRY MASHBURN: No, that's all right. I mean ... You don't have to apologize for everything. Stop saying sorry. It's making me nervous. SAMANTHA: Okay, I'm sorry. BARRY MASHBURN: Okay? SAMANTHA: Uh ... (SAMANTHA chuckles.) SAMANTHA: I ... I'm going to shut up now, then ... (SAMANTHA stands there not saying anything more. BARRY makes a big swinging motion with his arms for her to get back to the group. SAMANTHA gets it and heads back to the group.) (The phone continues to ring.) CUT TO: SCENE #38: [INT. THE REVIVAL MOVIE HOUSE - DAY -- CONTINUOUS] MARTIN: (to phone) Yeah. Thanks, Viv. (MARTIN rounds the WHITEBOARD and heads for JACK to fill him in on what VIVIAN relayed to him. JACK has the phone to his ear waiting for someone in the bookstore to answer it.) MARTIN: (to JACK) All right, according to Sydney's business partner, Mashburn got himself fired from a job at a copy place three months ago. And early last week he came into Sydney's offices to ask for another job. She said she'd try to help him out, but it didn't look promising. And I think that's when she went to Thatcher to cut that false check for ten grand. JACK: But he never got that check? MARTIN: No. According to her diary, she sent it to his mother-in-law's house. JACK: Now, why would she do that? (MARTIN shakes his head.) CUT TO: SCENE #39: [INT. TABLE OF CONTENTS (BOOKSTORE) - DAY -- CONTINUOUS] (Inside the bookstore, the phone continues to ring. Suddenly the phone stops ringing. Everyone notices the silence immediately.) FRAN: Thank god. TED: Yeah. I'll give 'em three minutes till they call back again. KYLE: Mom, it's hot in here. CHERYL: Oh, I know, sweetheart. BARRY MASHBURN: Hey, yeah, hey. (to TED) Where's the thermostat? TED: There isn't one in the ... in the store. The building controls the temperature. (BARRY sighs.) SAMANTHA: What's your name? CHERYL: This is Kyle. I'm Cheryl. SAMANTHA: I'm Samantha. LIBBY COULTER: I'm Libby. TED: I'm Ted. FRAN: Fran. RICHARD: Richard. (The telephone starts to ring again.) CUT TO: SCENE #40: [INT. THE REVIVAL MOVIE HOUSE - DAY -- CONTINUOUS] (JACK is on the phone. PAULA VAN DOREN walks in the room with AGENT DRUMMOND following behind her. He lingers near the door.) PAULA VAN DOREN: What the hell happened, Jack? JACK: We had a drop go bad. There's a suspect across the street in a bookstore. He's holding about a half a dozen hostages. PAULA VAN DOREN: And Special Agent Spade is one of these hostages? JACK: Yes. PAULA VAN DOREN: Mm-hmm. Have you achieved contact with the suspect? JACK: (sighs) Not yet. PAULA VAN DOREN: Then Drummond should step in and be the negotiator on this. JACK: With all due respect to you and Drummond, I am knee-deep in this. I have background on the suspect. I know a lot about the person he kidnapped. I have tons of experience in hostage negotiation, not to mention the fact that there's one of my agents in that bookstore. PAULA VAN DOREN: Which is what makes me doubt whether or not you have proper objectivity - particularly because it's ... this agent, Jack. (At this point, we see that MARTIN is standing at the counter nearby, listening in on the conversation intently.) JACK: (lowers his voice) Which is exactly why I should do it. Because if she tries to communicate something to me covertly, I am the best one to interpret it. I know her. Drummond doesn't. CUT TO: SCENE #41: [INT. THE TABLE OF CONTENTS (BOOKSTORE) - DAY - CONTINUOUS] (The telephone rings. BARRY walks slowly toward the phone. Everyone in the bookstore watches BARRY.) (BARRY reaches for the phone. SAMANTHA watches BARRY, willing him to pick it up. BARRY takes a deep breath and answers it.) BARRY MASHBURN: Hello? INTERCUT WITH: [INT. THE REVIVAL MOVIE HOUSE] (JACK points to his phone.) JACK: (to VAN DOREN) I've got him on the phone. PAULA VAN DOREN: You've got the rope, Jack. Don't hang yourself with it. (And she gives her approval.) JACK: (to phone) Who am I talking to? (Camera holds on BARRY MASHBURN.) FADE OUT. (COMMERCIAL SET) FADE IN. [EXT. STREET OUTSIDE BOOKSTORE - DAY] (A crowd of people gather outside the street. Officers keep them clear. Just beyond the road blocks are news cameras. A SWAT gunman is positioned in a building outside. His gun aimed at the bookstore's front door.) JACK: (v.o. from phone) Who am I talking to? SCENE #42: [INT. THE REVIVAL MOVIE HOUSE] (JACK is on the phone with BARRY MASHBURN.) JACK: Hello? Is anyone there? INTERCUT WITH: [INT. TABLE OF CONTENTS] BARRY MASHBURN: Who's this? JACK: My name is Jack. BARRY MASHBURN: Jack who? JACK: Uh, I'm with the FBI. And, uh, who am I talking to? BARRY MASHBURN: I think you know my name. JACK: Right. So this is Barry. BARRY MASHBURN: Yeah, that's right. Uh-huh. And, uh, what else do you know about me? JACK: Well, Barry, I know that you have, uh ... a number of hostages in there. But what I need to know is, is anyone hurt? (PAULA VAN DOREN listens in on the conversation.) BARRY MASHBURN: No one's hurt. (pauses) Yet. JACK: Does that include Sydney Harrison? BARRY MASHBURN: Sydney's safe for now. JACK: Can you tell me where she is? BARRY MASHBURN: She's, uh, she's, uh, she's with my partner. (MARTIN listens in on the conversation.) BARRY MASHBURN: You know, but one word from me and she dies. They don't hear from me by midnight, she dies. You understand that? (SAMANTHA watches BARRY, then turns to look at her purse and gun in between the book shelves.) JACK: Okay, Barry, I got it, I got it. It's good that you've kept your cool. BARRY MASHBURN: Yeah, so far. JACK: Right, 'cause you don't want to hurt anyone, Barry, because if you do, that's when things are going to get difficult. BARRY MASHBURN: Oh, yeah, well, things are really peachy right now. JACK: Look, I need you to tell me how many people are in there with you. BARRY MASHBURN: Well, let's just say that there's, uh, there's more than three and less than ten. And one cop. JACK: What cop? There's no cop in there, Barry. There's no cop in there with you. BARRY MASHBURN: The delivery girl was miked, Jack. JACK: Let me tell you something, Barry, if there was a cop in there, you'd be disarmed right now. (BARRY scoffs, then turns to look over at the hostages. He stops.) BARRY MASHBURN: Yeah, maybe. JACK: How many women do you have in there? BARRY MASHBURN: I got a few. JACK: Anybody old or sick? BARRY MASHBURN: No. JACK: What about kids? You have any children? (BARRY doesn't answer the question.) JACK: Barry, do you have a child in there? BARRY MASHBURN: What about him? JACK: Well, we need to get him out. BARRY MASHBURN: Yeah? Yeah, well, okay. Then I got to get something I need. JACK: Okay, what do you need? Tell me what you need. BARRY MASHBURN: Uh, I need a, I need a helicopter to get me to the airport and I need a plane to get me out of the country. JACK: Okay, I hear you, I hear you. But those are very difficult things to arrange. You have to give us some time. BARRY MASHBURN: I-I-I don't need anymore false promises. JACK: What are you talking about? We just started talking. There's no false promises here. What are you talking about? BARRY MASHBURN: Let's just say people are liars, Jack. JACK: Okay, let's just say that people are liars. Let's just say that. But I'm not, okay? You know why I'm not? Because I have to keep my credibility. If I lie, I lose my credibility with you and that's not good, because we have to work this out together. You understand? We have to work this thing out together. BARRY MASHBURN: Yeah, right, together. Huh. JACK: I'll tell you what I'm going to do, Barry. I'm going to give you something. Does anybody in there need food or water? BARRY MASHBURN: Uh, hold on. (to the hostages) All right, is, uh, is anyone in here hungry? (No one says anything for a moment.) SAMANTHA: Water. We could use some water. BARRY MASHBURN: (to phone) We could use some water. JACK: Okay, let me ask you something. Is the boy with his mother or father? BARRY MASHBURN: Mother. JACK: I'll tell what I'm going to do. I'm going to send in some water and you're going to give me the boy and his mother. BARRY MASHBURN: Yeah, uh, well ... I'll think about it. All right, I got to go. JACK: Okay, and Barry ... just wait a minute, okay? BARRY MASHBURN: What? JACK: I just want to tell you that we have a direct telephone line hooked up between the bookstore and here. You pick up the phone on your end and the phone on my end will ring. BARRY MASHBURN: A direct line? JACK: Uh-huh, exactly, a direct line. BARRY MASHBURN: Well, whoop-de-doo. (BARRY hangs up.) CUT TO: SCENE #43: [INT. REVIVAL MOVIE HOUSE - DAY -- CONTINUOUS] (JACK puts the phone down.) JACK: I think he's going to give us the boy. CUT TO: SCENE #44: [EXT. BARRY MASHBURN'S OLD RESIDENCE -- DAY] (Camera moves across the realtor's sign in front of the house (#21-63). It reads: JONES & PIERCE / NEW YORK / FOR SALE / ELIZABETH AFRIDI 1-800 .... There's a big red FORECLOSURE sticker on it.) (DANNY walks out of the house. He tucks his gun back into the holster at his waist. He walks down the front walk. The neighbor next door looks up from her open car trunk and sees DANNY ... and the gun. NEIGHBOR (WOMAN): Hey. What you doing in there? DANNY: Relax, ma'am. I'm with the FBI. This is Barry Mashburn's house, yes? (DANNY walks up to the woman.) NEIGHBOR (WOMAN): It was. Did he do something wrong? DANNY: You could say that. NEIGHBOR (WOMAN): Well, I guess, I guess that was inevitable. DANNY: Why's that? NEIGHBOR (WOMAN): Um, he just never seemed to get over Nicole's death. DANNY: How so? NEIGHBOR (WOMAN): Must have been, like, ten families in this area alone lost someone that day and most of them, you know, they were able to keep going and Barry, he just never seemed to be able to right himself. Then he lost his job and everything just, it fell apart. DANNY: How was he before everything fell apart? NEIGHBOR (WOMAN): He was a nice guy. He was kind of quiet. He loved those kids. Nicole was always working real late. He was the one who was here. You'd never know it by the look of this place, but, uh, he was always tending to the yard and making repairs around the house. He took a lot of pride in this place. CUT TO: SCENE #45: [INT. REVIVAL MOVIE HOUSE - DAY] (The cell phone rings. JACK answers it.) JACK: Yeah? INTERCUT WITH: (DANNY stands just outside his open car door.) DANNY: His house has been foreclosed, Jack. JACK: Since when? DANNY: February. JACK: We didn't get anything from the victim's phone? DANNY: Apparently not. JACK: So ... where's he been living these last months? DANNY: He still has that van; maybe he's living there. JACK: What about his kids? DANNY: His neighbor thinks they went to live with their mother-in-law. (over phone) Viv's on it. JACK: (to phone) Okay, well call me when you know. DANNY: (from phone) Got it. (JACK puts the phone down and looks at MARTIN who is sitting next to him at the table. MARTIN is eating.) MARTIN: That Danny? JACK: Yeah. (MARTIN nods.) MARTIN: (looking at JACK) Are you hungry? JACK: (pauses, looking at MARTIN) No. (JACK turns away. MARTIN turns away.) MARTIN: All right. CUT TO: SCENE #46: [INT. CONWAY RESIDENCE -- DAY] (VIVIAN interviews GEORGIA CONWAY.) GEORGIA CONWAY: What is he doing? What can he possibly be thinking? VIVIAN: He asked for $687,000. Do have any idea why that exact amount? GEORGIA CONWAY: No, I have no idea. Obviously, he had money troubles, but ... VIVIAN: Now I know this is sensitive, but do you have an idea why he didn't collect anything from the victim's fund? GEORGIA CONWAY: For the life of me, I don't understand it. I know he was working with some lawyer, and there was some hold up about the paperwork. (VIVIAN nods her head.) VIVIAN: And Sydney Harrison? I mean, do you have an idea why he'd do something like this to her? (She shakes her head.) GEORGIA CONWAY: No, she always tried to help him. That's why this just doesn't make any sense. CUT TO: SCENE #47: [INT. TABLE OF CONTENTS (BOOKSTORE) -- DAY] (Camera close up of BARRY MASHBURN. He turns and paces the floor.) SAMANTHA: Why don't you let Kyle go? (Surprised by this, BARRY turns to look at SAMANTHA. He then turns to look at KYLE who sits closely next to his mother. He looks at KYLE for a long moment.) BARRY MASHBURN: All right, the kid can go. Get him up. (KYLE and CHERYL stand up. BARRY walks to the phone and picks it up.) INTERCUT WITH: [INT. REVIVAL MOVIE HOUSE - DAY -- CONTINUOUS] (JACK and MARTIN turn to look at the phone as it starts to ring. JACK stands up.) (Cut to: BARRY waits for someone to pick up the ringing phone.) (Cut to: JACK answers the phone. MARTIN and VAN DOREN both listen in on the conversation.) JACK: Hello? BARRY MASHBURN: Kid's coming out in two minutes. JACK: What about the mother? BARRY MASHBURN: No, no, no, just the boy. We got a deal? (SAMANTHA nods her head, knowing that JACK'S not going to refuse it.) JACK: Yes, we have a deal. But listen, I have to send some agents over to escort the boy out. I don't want you to be alarmed. BARRY MASHBURN: (quietly) Yeah, okay. (BARRY hangs up.) PAULA VAN DOREN: (to the walkie-talkie) We've got one coming out. (MARTIN picks up the binoculars and walks over to the window to watch the exchange.) (Cut back to: BARRY walks over to KYLE and his mother. The wall clock behind him reads 3:45 pm.) KYLE: No, mom, I'm not going without you. CHERYL: (to KYLE) Yes you are, and I don't want to hear ... BARRY MASHBURN: (interrupting) Come on kid, now! (SAMANTHA turns to look at BARRY.) KYLE: (to BARRY) Not without her. CHERYL: Kyle, you have to go now! (SAMANTHA stands up quickly and grabs KYLE.) SAMANTHA: (quietly and urgently) Kyle, you listen to me. We're all here to protect your mom. She's going to be fine, okay? She's going to be fine. But you have to go, all right, honey? You have to go. (SAMANTHA puts her arm around KYLE and tries to urge him toward the door and away from his mother. BARRY gets impatient. He grabs KYLE and pulls him away from his mother, the gun held high and pointed downward in his other hand.) BARRY MASHBURN: (to SAMANTHA) You get the door. (SAMANTHA holds both her hands up and takes a step backward.) SAMANTHA: (to BARRY) Don't point your gun at me. BARRY MASHBURN: Go! SAMANTHA: Okay. (SAMANTHA heads for the door.) BARRY MASHBURN: (to SAMANTHA) Grab the water out there. (BARRY drags KYLE toward the door.) Let's go. (KYLE goes, but he turns and looks back.) KYLE: Mom ... ! (BARRY also turns and looks back. CHERYL looks at KYLE.) CHERYL: Please. (BARRY turns to look at SAMANTHA who is standing next to the closed front door. She and everyone else looks at BARRY waiting for his final decision. BARRY turns to look back at CHERYL, then finally gives in.) BARRY MASHBURN: All right, yeah, you, too. Come on. Yeah, come on. (CHERYL rushes over to her son. SAMANTHA nods her head in relief.) BARRY MASHBURN: Let's go. (RICHARD glances over at SAMANTHA'S bag with the gun in it.) (CHERYL and KYLE head toward the door. SAMANTHA unlocks and opens the door. She reaches out and grabs the pack of bottled water from the AGENT. She goes back inside. CHERYL and KYLE wait in the doorway.) (Cut to: MARTIN narrates as he watches the exchange through his binoculars.) MARTIN: Looks like he's sending the mother out, too. (Cut to: CHERYL and KYLE are escorted out of the bookstore. SAMANTHA looks at the building across the street before heading back into the bookstore.) (Cut to: MARTIN and JACK both bring down their binoculars. MARTIN turns to JACK.) MARTIN: Good work, Jack. (MARTIN nods and raises his binoculars to look back out of the window.) (Cut to: SAMANTHA closes and locks the front door. She leans up against it and takes a deep breath. BARRY picks up the carton of bottled water. He holds it and takes a step toward SAMANTHA.) BARRY MASHBURN: (to SAMANTHA) You know, I wasn't really going to shoot you. SAMANTHA: I know, I'm just ... (she shakes her head and looks down) ... guns ... (she grimaces) BARRY MASHBURN: (looks at SAMATNHA) I, uh ... you did good. SAMANTHA: (looks at BARRY) So did you. (BARRY takes the bottled water back to the hostages. She watches as BARRY walks back toward the group and gets herself back under control.) (RICHARD'S eyes shift from BARRY back to SAMANTHA. SAMANTHA glances down for a moment, then heads back toward the group.) FADE TO BLACK. (COMMERCIAL SET) FADE IN. SCENE #48: [INT. REVIVAL MOVIE HOUSE - DAY] (Camera opens on an agent writing on a whiteboard while MARTIN interviews CHERYL. KYLE sits next to his mother as she answers MARTIN'S questions. On the whiteboard is the following list in two columns under the heading "HOSTAGES": FIRST COLUMN ON THE LEFT: 1. SAMANTHA SPADE Federal Agent 2. LIBBY COULTER W/F Sydney's Pers Assist. 3. EMPLOYEE(S) SECOND COLUMN ON THE RIGHT: 4. BOY - KYLE 5. BOY'S MOTHER 6. FRAN -- 30 7. ROBERT ) (Numbers 4 and 5 on the list are crossed off.) CHERYL: Yeah, I'm pretty sure his name is Robert. MARTIN: Okay. How old? CHERYL: Uh, about 50. MARTIN: White? CHERYL: Yes. MARTIN: How tall? (JACK turns away and pulls out his cell phone. It rings on the other side.) INTERCUT WITH: [INT. THE TABLE OF CONTENTS (BOOKSTORE) - DAY - CONTINUOUS] (BARRY stands behind the counter and picks up the telephone. His back is to the rest of the room.) BARRY MASHBURN: Hello? JACK: (from phone) Barry? Listen, I really appreciate what you did. Letting the mother go, too. (Behind JACK, PAULA VAN DOREN sits on the table and listens in on the conversation.) BARRY MASHBURN: Yeah, I didn't do that for you. JACK: (from phone) I know. But I really appreciate it. I ... (from phone) ... It shows me what kind of ... what kind of man you are. BARRY MASHBURN: Yeah, well... JACK: Look, Barry I think I understand why all of this is happening. (This stops BARRY for a moment.) BARRY MASHBURN: Oh, you do know? JACK: (pauses) Yeah. I know what happened to your wife, and I am truly sorry. BARRY MASHBURN: You're sorry? JACK: Yeah. I lost some good friends that day. (BARRY scoffs.) BARRY MASHBURN: Yeah. How about your wife? You ... you lose her? (SAMANTHA looks at BARRY. FRAN also looks at BARRY.) BARRY MASHBURN: You lose your job, your house? JACK: No, Barry, I didn't. BARRY MASHBURN: Then don't tell me you understand, Jack. JACK: Look, I know it's not the same thing, but I was down there. I saw what happened. I saw it with my own eyes. BARRY MASHBURN: Yeah, well, I bet you didn't run over there looking for your wife ... only to see people jumping out of the building, huh? (SAMANTHA takes a deep breath. Even LIBBY COULTER is being affected by the one- sided conversation that they're overhearing.) JACK: Look, I know it's not the same, Barry, but I am sorry. And I got to tell you ... (JACK pauses) ... people will understand ... why you've done this. People will understand how it's come to this. All I want to do is get you out of there unharmed. (PAULA VAN DOREN stands up and walks toward JACK.) BARRY MASHBURN: No. You want to help me, you get me my helicopter. JACK: I'm working on a helicopter. Okay? I am, but it's-it's complicated. You know, we can't land one in the middle of the street. It involves transport, an airport. I got to get a clearance from the FAA. There's a lot of things that I don't have any control over. BARRY MASHBURN: All right, all right. I want to talk to your boss. JACK: Come on. You can't do that, Barry. You got to work this out with me, understand? We have to work this out together. BARRY MASHBURN: What, you think I'm stupid, don't you? JACK: No. Of course I don't think you're stupid. Barry ... how could you have pulled off the kidnapping with Sydney if you were stupid? BARRY MASHBURN: (interrupting) No, no, no, no, no ... this is not about Sydney now, okay? JACK: Look, let's just talk about her for a minute, okay? Look, why don't you give her to me? Okay? You've got all the hostages in there. You don't need her. BARRY MASHBURN: Are you kidding me? I tell you where Sydney is, you come running in here with the cavalry. You kill us all. JACK: What are you talking about, Barry? Look, just slow down for a second, okay? Nobody is going to send anybody to kill anyone, all right? I'm not going to kill you. All I want to do is get everybody out of there unharmed. BARRY MASHBURN: Now, look, I, uh, I have no control over Sydney's whereabouts right now. Uh ... but one word from me, and she is dead. Do you understand that? JACK: Listen, Barry, it's counterproductive to make threats, okay? It's not going to help either one of us. BARRY MASHBURN: No? Well, how about this? (BARRY walks around the counter. He holds the gun out and points it unconsciously at the hostages in front of him to emphasize his point to JACK.) BARRY MASHBURN: Right, you don't get me my helicopter in the next hour ... somebody in here gets hurt. Do you understand that? (RICHARD turns and stares at SAMANTHA'S bag in between the two shelves. FRAN and LIBBY hold on to each others' hands. The clock on the wall reads 4:00 (pm). BARRY swings the gun in his hand at the hostages. He holds the phone's mouthpiece against his shoulder as he talks with the hostages.) BARRY MASHBURN: (to the hostages) I'm not bluffing, people. I will do what I have to do. (BARRY walks back to the counter. RICHARD stares at SAMANTHA. SAMANTHA turns and looks at RICHARD. She deliberately shakes her head at him. No. BARRY slams the phone down.) (Cut to: JACK looks at the phone in his hand. Behind him VAN DOREN also removes her own phone piece. JACK hangs up the phone and rubs his hands over his tired eyes.) CUT TO: [EXT. NEW YORK CITY (STOCK) - DAY] LEGEND: 10 HOURS MISSING DANNY: (v.o.) You hired Barry because he knew a lot about copy machines? SCENE #49: [EXT. SIDEWALK OUTSIDE COPY PLACE -- DAY] (DANNY interviews the Manager of the Copy Place that last fired BARRY MASHBURN. Before answering DANNY'S last question, the Manager throws his cigarette butt out onto the sidewalk.) COPIER MANAGER: Sydney vouched for him, so I figured Barry must be the best guy for the job. (He turns around to look at DANNY.) DANNY: How long did he work here? COPIER MANAGER: Two weeks. DANNY: That's it? COPIER MANAGER: He had a short fuse. I asked him to stay late a few minutes one night. Next thing I know, he's throwing a scanner at my head. DANNY: Well, it looks like he missed you. COPIER MANAGER: Missed me by that much. (The MANAGER holds out his thumb and index finger to show DANNY about an inch of space in between.) A thousand dollar piece of equipment smashed to pieces. DANNY: Let me get this straight. All you did was ask him to stay late? I mean, that's what set him off? COPIER MANAGER: We had an obnoxious customer. He was giving Barry a hard time. Barry snapped at the guy. I told him to apologize. He freaked out. DANNY: Did you call the cops? COPIER MANAGER: No. Sidney begged me not to. Said he's having a rough time lately. But if he ever came back again, I'd press charges. CUT TO: WHITEBOARD: (An hand writes IRRATIONAL in red ink to the list: SHORT FUSE VIOLENT IRRATIONAL ) (Cut to close up of a black and white photo on the WHITEBOARD of BARRY MASHBURN.) SCENE #50: [INT. THE TABLE OF CONTENTS (BOOKSTORE) - DAY - CONTINUOUS] (SAMANTHA looks at BARRY who is sitting on the floor with the other hostages. She considers him and then makes a decision.) SAMANTHA: (quietly) I was down there that day. I'm a nurse. I was, uh ... treating the cops and the firemen. (RICHARD perks up to listen when SAMANTHA starts talking. BARRY looks at SAMANTHA.) BARRY MASHBURN: (nods) But no survivors? SAMANTHA: (quietly) A few. Not enough. (For a moment, there's silence. Then from around the counter that they're leaning against, another voice speaks up. Both SAMANTHA and BARRY turn to look at TED.) TED: My cousin ... worked in the north tower. He got out, but ... he's never been the same. FRAN: I was asleep. (SAMANTHA and BARRY both turn to look at FRAN.) FRAN: I'd worked late the night before. I tend bar. And I had an audition that day downtown. They never put the play up. Theater's closed now. BARRY MASHBURN: (to LIBBY) How about you? (Surprised, LIBBY slowly raises her eyes to look at BARRY. He watches her ... waiting to hear her answer. After a moment, LIBBY answers.) LIBBY COULTER: (hesitantly) I was in Chicago visiting my brother. BARRY MASHBURN: And what was that like? (SAMANTHA watches BARRY. Her eyes shift back to LIBBY when she continues.) LIBBY COULTER: At first, I was so glad to be there with him to be safe, and then ... after watching it on TV all day and all night, it just ... started to become so unreal, I ... I had to get back to New York. (BARRY waves his hand in a circular motion urging LIBBY to continue.) BARRY MASHBURN: Go on. (LIBBY swallows.) LIBBY COULTER: So I ... got on a train on Thursday. Twenty-four hours straight. I didn't sleep a wink. And I remember when ... when I walked out of Penn Station onto Eighth Avenue, and I looked downtown ... all I could see was smoke. All those people. (LIBBY starts to cry.) BARRY MASHBURN: One of those people ... was my wife. (SAMANTHA turns to glance at BARRY.) BARRY MASHBURN: (harder) You've got her job now. (LIBBY looks at BARRY, shocked at what he just said. It's obvious that she didn't know.) LIBBY COULTER: Nicole was your wife? BARRY MASHBURN: That's right. That's right. LIBBY COULTER: Sidney always talked about her, but I never knew her last name. I never knew that you ... BARRY MASHBURN: It's me. LIBBY COULTER: Sidney says that your wife was wonderful. (BARRY nods his head unimpressed by the compliments from Sydney.) BARRY MASHBURN: Yeah, she was, she was. She was. She so wonderful that, uh, Sydney had her working twelve ... thirteen hour days. You know, she was so wonderful that, um ... when she asked if she could come in a little bit later so she could take our kids to school, Sydney said, "uh, uh, no, no. I don't think that's a good idea." "No. There-there's too many phones to answer, too many copies to copy, too much filing." That's how 'wonderful' she was. (BARRY'S voice breaks.) BARRY MASHBURN: Yeah. Yeah. (BARRY regains some composure. He keeps his eyes closed.) BARRY MASHBURN: She was so wonderful that ... now I wake up ... every morning, and I walk down to that place ... just to smell her ashes. (SAMANTHA watches BARRY with tears in her eyes. LIBBY COULTER cries.) BARRY MASHBURN: What time do you have to come in now? LIBBY COULTER: 9:30. BARRY MASHBURN: Yeah. Yeah. That's what I thought. Nicole had to be in at eight. She would still be alive ... if that bitch had let her take our kids ... to school. (RICHARD leans forward toward SAMANTHA. SAMANTHA turns away from BARRY toward RICHARD and sends him a warning look.) (The gun cartridge clicks.) BARRY MASHBURN: Bonding session's over. (BARRY gets to his feet and looks at the hostages.) BARRY MASBURN: Thanks for playing. (BARRY turns his back to the hostages and steps away from them. SAMANTHA turns away from BARRY and once again looks at RICHARD. RICHARD looks at SAMANTHA expectantly and sighs.) CUT TO: [EXT. NEW YORK CITY (STOCK) - DAY] SCENE #51: [INT. REVIVAL MOVIE HOUSE - DAY] (JACK has the phone to his ear. It rings on the other end. He waits for someone to answer it. He turns to look out the window at the bookstore.) CUT TO: SCENE #52: [INT. TABLE OF CONTENTS (BOOKSTORE) - DAY -- CONTINUOUS] (Camera close up of the phone on the counter top. It's ringing. BARRY walks over to the phone and places both hands flat on the counter. He leans over the phone as it continues to ring.) RICHARD: Oh, for God's sake! We're not getting anything worked out just sitting here. Answer the damn phone! SAMANTHA: (to RICHARD) Why don't you just leave him alone, okay? He's just trying to figure out what to do? (BARRY looks at SAMANTHA. He gets an idea.) BARRY MASHBURN: Samantha ... you answer it. SAMANTHA: Me? BARRY MASHBURN: Yeah. Tell him I don't want to speak to him until I get my helicopter. SAMANTHA: But I really don't want to get in the middle of this, okay? I-I ... BARRY MASHBURN: No. No. Tell him ... tell him that you're scared, I'm crazy, and if I don't get what I want ... I'm going to start throwing bodies ... out that door there. (BARRY points the gun at SAMANTHA.) Do it! (SAMANTHA slowly gets up off of the floor. She walks to the phone and answers it.) SAMANTHA: Hello? JACK: (from phone) Whom am I speaking to? INTERCUT WITH: [INT. REVIVAL MOVIE HOUSE - DAY -- CONTINUOUS] SAMANTHA: (from phone) This is Samantha. (In front of the whiteboard, MARTIN stops pacing the floor at the sound of SAMANTHA'S voice over the headset. He looks at JACK and nods slightly.) JACK: Barry listening, Samantha? (VAN DOREN is also listening in on the conversation.) BARRY MASHBURN: (yelling in b.g.) Tell him what I told you. Tell him. SAMANTHA: (sounding nervous, but not) H-he-he wants me to tell you that he's crazy, and if you don't give him what he wants, he's going to start shooting people. (The wall clock behind SAMANTHA reads 6:15 p.m.) BARRY MASHBURN: A-a-and that I'm not joking ... (BARRY continues to yell out instructions to SAMANTHA.) JACK: (quietly) Okay, I can hear him in the background. Um, can you tell me how many hostages there are, including you? SAMANTHA: You've got five minutes to give us an answer. (JACK pulls his hand out of his pocket and holds up five fingers to MARTIN.) (MARTIN adds two question marks next to FRAN & ROBERT on the whiteboard list.) JACK: Okay. I've got Libby, Fran, and Robert. Is that right? SAMANTHA: I would say that there are two to one odds that somebody is going to freak out if you don't get us the hell out of here. You understand? JACK: (to MARTIN) Okay, two of them are right. One of them is off. (to SAMANTHA) Who am I missing? (With BARRY intent on SAMANTHA'S phone conversation, RICHARD turns his head and sees his opportunity to go for SAMANTHA'S bag between the two shelves. He moves slowly.) (SAMANTHA bobs her head and looks at the phone, confused.) SAMANTHA: (to JACK) You want to talk to the guy who works here? (to BARRY) He wants to talk to Ted. (BARRY takes a few steps to his right and moves in front of SAMANTHA. He is now standing with his back fully to RICHARD who continues to slither slowly across the floor toward SAMANTHA'S bag.) BARRY MASHBURN: Why? SAMANTHA: (shrugs) (to BARRY) I don't know. (MARTIN writes on the WHITEBOARD, "TED" as hostage #3, the employee.) BARRY MASHBURN: No! Tell him to forget it. SAMANTHA: (to phone) No. He says forget it. (TED lets out a visible sigh of relief.) JACK: That's nice work, Sam. SAMANTHA: (urgently) Listen, everybody really wants to get hell out of here, okay? (Though the change is subtle, JACK picks up on it instantly.) JACK: Is there something wrong? (RICHARD inches closer toward SAMANTHA'S bag. He's halfway there.) SAMANTHA: (interrupting loudly) We're really glad you're making progress, ... (RICHARD glances at SAMANTHA and holds up a hand to her. He continues to move toward the bag.) SAMANTHA: ... because we all really want to get the hell out of here. You know what I'm saying? JACK: What's going on in there, Samantha? Is somebody hurt? SAMANTHA: (loudly) No. Nobody's going to do anything stupid. (RICHARD reaches the bag. SAMANTHA sees RICHARD on the floor near her bag.) BARRY MASHBURN: What's he saying? (BARRY turns around and sees RICHARD near the shelf. He immediately runs toward RICHARD.) BARRY MASHBURN: Hey! [CAMERA SLOW MOTION] (RICHARD grabs the gun and stands up. BARRY reaches RICHARD first, swings with his gun hand and hits him in the jaw.) (SAMANTHA sees RICHARD take the brunt of the blow, turn and grab something off of the shelf to swing at BARRY.) (SAMANTHA moves from her spot. She drops the phone and runs toward the two men.) (FRAN and LIBBY watch SAMANTHA, their mouths hanging open.) (Both men fight and struggle to gain control of the gun.) (The gun fires.) (Cut to: MARTIN raises his eyes and looks at JACK. JACK doesn't move. He listens to the silence on the other end of the phone.) (From phone: Something hits the floor with a thud.) (Cut back to: TED curls up into a ball on his side on the floor, his arms protectively over his head.) (The two men continue to struggle for the gun.) (A second gunshot is heard.) (Cut to: Close up of JACK. [RESUME MOTION] (JACK'S eyes dart back and forth as he clutches the phone and listens.) JACK: Samantha? ... (Cut to: The phone receiver dangles along the side of the counter mere inches off of the floor.) JACK: (from phone) Samantha? ... (Camera holds on the phone receiver. There's a long pause.) JACK: (from phone) Sam!? (The phone receiver continues to dangle off its hook.) FADE TO BLACK. JACK: (from phone) Sam! ======================== END OF PART 1 ======================== [Captioning sponsored by CBS and Warner Bros. Television (cc) Captioned by media access group at wgbh access.Wgbh.Org] Courtesy of http://www.webphilia.com/~anthology/wnp.html Contact the Transcriptionist at (intrepidly002@yahoo.com) Do not archive this transcript without permission from the Transcriptionist. ======================== BEGINNING/TITLE CREDITS ======================== WITHOUT A TRACE 1X22: FALL OUT (PART 1) ORIGINAL AIR DATE ON CBS: 05/08/2003 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 TOM IRWIN as Barry Mashburn MARSHA DIETLEIN BENNETT as Sydney Harrison GREGORY ITZIN as BARBARA TARBUCK as SCOTT MOSENSON as CHUCK COOPER LISA GORLITSKY and LYNN WHITFIELD as Paula Van Doren Producer: PAUL HOLAHAN 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: HANK STEINBERG Directed by: KEVIN HOOKS ======================== 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: KRISTIN KILLEY Second Assistant Director: WENDY BLEDSOE Casting by: GARRY M. ZUCKERBROD, C.S.A. Casting by RONNA KRESS, C.S.A. and TRACY KAPLAN, C.S.A. Co-Starring STEVEN C. NELSON as Ted BETSY BRANDT as Libby (Coulter) MICHELLE ANNE JOHNSON as Fran VANESSA MARANO as Hanna LAURA MARANO as Kate TY MILLER as Tech Agent THOMAS CURTIS as Peter Technical Advisor: MARK LLEWELLYN Set Decorator: JEANNIE GUNN, S.D.S.A. Property Master: JOHN HARRINGTON Costume Designer: ANE CRABTREE Costume Supervisor: SUE BUB Make-up Artist: TINA ROESLER KERWIN Hairstylist: STEPHEN A. ELSBREE Production Sound Mixer: JAY PATTERSON, C.A.S. Construction Coordinator: STEVEN DE SANTIS Lead Man: RON SICA Supervising Sound Editor: VICTOR IORILLO Music Supervisor: JASON ALEXANDER Music Editor: DAN RAZIEL 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 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 Production #175671 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:05/18/2003~lky http://www.webphilia.com/~anthology/wnp.html