WITHOUT A TRACE 1X23: FALL OUT (PART 2) ORIGINAL AIR DATE ON CBS: 05/15/2003 TRANSCRIBED FROM CBS Written by: HANK STEINBERG Directed by: PAUL HOLAHAN 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: When last we left, gunshots were heard fired inside the bookstore. Jack soon learns that Samantha has been shot. He is then ordered to continue to negotiate from outside. Jack continues on as ordered, but then learns of Samantha's condition from one of the released hostages. In a desperate move to get her out, Jack successfully trades himself for Samantha - one hostage for another. Once inside, he continues to negotiate from within. ========================== WITHOUT A TRACE 1X23: FALL OUT (PART 2) ========================== FADE IN. NARRATOR (ANTHONY LAPAGLIA): Previously on WITHOUT A TRACE: [All scenes are from 1X22: Fall Out (Part 1)] (SYDNEY walks into the lobby of her office building. She buys a newspaper at the counter and heads for the elevator.) SAMANTHA: (v.o.) Name's Sydney Harrison. On her way up to work, someone grabbed her in the elevator. (SYDNEY HARRISON walks into the open elevator. Another man also walks into the elevator with her.) (Cut to: The man in the elevator puts spray paint on the security camera.) SYDNEY'S PARTNER: Sydney was just getting back on her feet, and now this. Our old offices were in the world trade center. (Cut to: JACK reads the ransom e-mail note. SAMANTHA is there with him.) JACK: (reading) You have until 2:00 to get $687,000. (Cut to: JACK instructs LIBBY COULTER on what she's to do in the bookstore.) JACK: (to LIBBY COULTER) Agent Spade will be in the bookstore with you. (Dissolve to: LIBBY puts the bag with the ransom money down. SAMANTHA watches as LIBBY steps away from the bag.) JACK: (v.o.) She's going to cover you if anything goes down. (Cut to: BARRY MASHBURN picks up the bag and attempts to walk out of the bookstore. RICHARD grabs his arm and stops him.) RICHARD: Hey, that's not your bag. (LIBBY turns around and recognizes BARRY MASHBURN.) RICHARD: (shouting) Hey! Hey! BARRY MASHBURN: Get the hell off! (BARRY pushes RICHARD aside and draws a gun on the customers in the store. LIBBY runs to the nearest wall.) (Cut to: LIBBY is huddled near the wall whispering into the microphone in her purse.) LIBBY COULTER: (whispering) It's Barry Mashburn. (Cut to: In the Revival Movie Theatre that they set up as their negotiating headquarters, MARTIN fills JACK in on BARRY'S possible motivation for kidnapping SYDNEY HARRISON. JACK is on the phone.) MARTIN: Barry Mashburn's wife was Sydney's old Assistant. She died on 9/11. (Cut to: Inside the bookstore, BARRY holds his gun on FRAN.) BARRY MASHBURN: All right, nobody move! (Cut to: Police cars arrive on the scene. SWAT team members also take up their position.) (Cut to: Inside the Revival Movie House, PAULA VAN DOREN arrives with AGENT DRUMMOND behind her.) PAULA VAN DOREN: What the hell happened, Jack? (Cut to: Inside the bookstore, SAMANTHA hides her bag between the bookshelves. RICHARD sees her.) JACK: (v.o.) We had a drop go bad. (SAMANTHA signals to RICHARD not to say anything.) PAULA VAN DOREN: (v.o.) And Special Agent Spade is one of these hostages ... (PAULA VAN DOREN voices her concern to JACK, who is still on the phone waiting for BARRY MASHBURN to answer it.) PAULA VAN DOREN: ... which is what makes me doubt whether or not you have proper objectivity. (Cut to: SAMANTHA on the inside watching BARRY carefully. BARRY is on the phone with JACK.) BARRY MASHBURN: (to phone) I have no control over Sydney's whereabouts now. JACK: All I want to do is get everybody out of there unharmed. (Cut to: A SWAT sharpshooter is looking out the window from the building across the street, his scope on the bookstore below.) (Cut to: BARRY MASHBURN is on the phone with JACK. He's swinging his gun as he speaks. The wall clock reads 4:00 pm.) BARRY MASHBURN: You don't get me my helicopter in the next hour, somebody in here gets hurt. (Cut to: JACK.) JACK: What's going on, Samantha? (Cut to: SAMANTHA is on the phone. The wall clock reads 6:15 pm.) SAMANTHA: (loudly and stiffly) No, nobody's going to do anything stupid. (RICHARD slithers across the floor, making his way toward SAMANTHA'S bag ... and gun.) BARRY MASHBURN: What's he saying? (SAMANTHA opens her mouth to say something, her eyes on RICHARD.) SAMANTHA: (falters) I - I ... (BARRY notices that SAMANTHA is distracted. He turns around and sees RICHARD near the bookshelves, his back to everyone.) 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 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 sounds on the other side of the phone.) (From phone: Something hits the floor with a thud.) (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.) JACK: (from phone) Sam?! FADE TO BLACK. END OF PREVIOUSLY ON: WHITE FLASH IN. SCENE #01: [INT. REVIVAL MOVIE HOUSE - DAY] (JACK listens over the phone. All he hears are the women screaming on the other side.) JACK: Sam? Sam? CUT TO: SCENE #02: [INT. THE TABLE OF CONTENTS (BOOKSTORE) - DAY -- CONTINUOUS] (BARRY MASHBURN wrestles the gun away from RICHARD who is now sitting on the floor.) (LIBBY and FRAN stare at something. Their eyes wide with horror, their screams continuous.) (BARRY turns to them and yells.) BARRY MASHBURN: Shut up! Everybody, shut up! (The women stop screaming. He looks around the room and sees what they've been screaming about.) BARRY MASHBURN: (frustrated) God! (TED'S eyes are wide as he stares at something, too.) (Camera cuts to SAMANTHA'S left leg. The bullet penetrated through her upper thigh and is bleeding. She puts her hand over it and applies pressure to the wound. She lets out a grunt of pain and starts to hyperventilate to get the pain under control.) (BARRY picks up the second gun from the floor. RICHARD stares at SAMANTHA.) BARRY MASHBURN: Oh, god! LIBBY COULTER: Oh, my god! BARRY MASHBURN: Oh! God! God. (Camera cuts to the telephone hanging off the counter.) JACK: (from phone) Sam! (BARRY picks up the telephone ... ) JACK: (from phone) Sam! ( ... and hangs it up, cutting JACK off.) CUT TO: SCENE #03: [INT. REVIVAL MOVIE HOUSE - DAY -- CONTINUOUS] (JACK hangs up his phone.) JACK: Lost contact. (JACK loosens his tie and unbuttons the top button of his shirt. He looks outside the window at the bookstore across the street and sighs.) CUT TO: (Camera travels low and fast across the street toward the bookstore.) FADE TO WHITE END OF TEASER. ROLL TITLE CREDITS (COMMERCIAL SET) FADE IN. (Through the window of the Revival Movie House, the camera moves forward toward the bookstore.) (Switch to: The camera moves backward from the view of the Revival Movie House and the hands holding the blinds open, lets it go, closing the blinds in front of the camera.) SCENE #04: [INT. THE TABLE OF CONTENTS (BOOKSTORE) - DAY -- CONTINUOUS] (SAMANTHA grunts and breaths hard. FRAN stares at the wound. TED inches toward SAMANTHA. BARRY walks across the floor.) FRAN: Oh, god! TED: (panicking) What do we do? What do we do?! SAMANTHA: (shouts) Ted! You're going to have to wrap it up, okay? (BARRY tosses something to TED.) BARRY MASHBURN: Use that. SAMANTHA: Wrap it up. (The phone starts to ring. BARRY paces the floor, thinking. SAMANTHA urges TED to hurry. TED moves as fast as he can.) SAMANTHA: Tighter. Tighter! (BARRY rounds on RICHARD.) BARRY MASHBURN: (to RICHARD) Where'd you get the gun?! RICHARD: (points and stutters, trying not to give SAMANTHA away) It was ... I- I ... it was over there. I don't know. It was there. BARRY MASHBURN: (to RICHARD) You the cop? RICHARD: (scoffs) If I was, I'd have taken you out five hours ago. BARRY MASHBURN: All right, who's the cop? Huh? (BARRY swings his gun around. LIBBY starts panicking.) SAMANTHA: (shouts) I am! (BARRY looks at SAMANTHA, surprised by her admission. Even FRAN stares at SAMANTHA, disbelief on her face.) SAMANTHA: (panting) I'm FBI. (SAMANTHA continues to pant. Regardless of the heat inside the bookstore, she starts to shiver.) BARRY MASHBURN: (stares at SAMANTHA) No way. (SAMANTHA clutches her bandaged leg and pants.) SAMANTHA: My ID's over there. Why don't you ... why don't you check it out? (BARRY looks for SAMANTHA'S bag. He finds it and looks at the ID inside.) SAMANTHA: (yelling to TED) Tighter! (softer) That's good. (The telephone continues to ring in the background.) BARRY MASHBURN: God damn! (Frustrated at finding the FBI in the store with him, BARRY throws the ID aside and turns over the book display table.) (RICHARD scrambles to get out of his way.) SAMANTHA: (face pale and panting) Listen to me. If you don't answer that phone, SWAT is going to come in here within two minutes. BARRY MASHBURN: Shut up! Make a sound, I kill her! (Someone screams. BARRY moves behind the counter. He looks at the ringing phone. He waves his gun around and yells.) BARRY MASHBURN: Shut up! Everyone, shut up! (BARRY looks down at the phone again and takes a deep breath. He answers it.) BARRY MASHBURN: (to phone) Hello. INTERCUT WITH: [INT. REVIVAL MOVIE HOUSE] JACK: Barry, what's going on in there? BARRY MASHBURN: Nothing. Everything's fine. JACK: Well, I heard a gunshot. BARRY MASHBURN: It was an accident. Everyone's fine. (Camera passes SAMANTHA, who is trying not to make any sounds. She continues to pant.) JACK: So nobody's been shot? BARRY MASHBURN: No, no, no. JACK: Well, then, what happened? (JACK waits for BARRY to answer him. There's no response.) JACK: Barry, what happened? BARRY MASHBURN: One of the idiots tried to jump me. My gun went off, but it, uh, it-it shot into the floor. JACK: Okay, okay. Uh. Let me talk to somebody else in there. BARRY MASHBURN: What, you don't believe me? JACK: Well, two minutes ago, you were talking about shooting people. BARRY MASHBURN: (his voice breaks) I-I never said that. JACK: Yeah, that's what you told Samantha to tell me. BARRY MASHBURN: Well, she was just nervous. She-she-she wanted to get out of here. (SAMANTHA bears down on her leg, clutching it, still trying not to make any sudden noises.) JACK: Okay, well, let me talk to her. BARRY MASHBURN: No! No, you got to take my word for it. I don't want to talk right now. (BARRY hangs up the phone. The line disconnects on JACK.) CUT TO: SCENE #05: [INT. TABLE OF CONTENTS - DAY -- CONTINUOUS] (As soon as BARRY hangs up the phone, SAMANTHA starts to pant out loud again. She starts issuing instructions.) SAMANTHA: Okay, listen to me. Ted, you've got to elevate my leg, (she takes a shuddering breath) okay? You got to get my leg up. (TED stands up to get a chair.) CUT TO: [EXT. RESIDENTIAL COMMUNITY (STOCK) - DAY] SCENE #06: [INT. CONWAY RESIDENCE - LIVING ROOM -- DAY] (VIVIAN interviews WENDY and PETER. GEORGIA CONWAY is also in the room.) VIVIAN: Well, when your dad comes to visit, what do you guys do? WENDY: Watch tv, play frisbee in the backyard. Sometime dad brings our bikes, and we go ride them in the park. VIVIAN: Do you know this lady? (VIVIAN shows WENDY a photo of SYDNEY HARRISON.) WENDY: That's Sydney, my mom's old boss. VIVIAN: Does your dad ever talk about her? PETER: What is this about? What did my father do? VIVIAN: He's just in a little bit of trouble, and I'm trying to help him get out of it. CUT TO: SCENE #07: [INT. FBI - COMPUTER ROOM -- DAY] (DANNY walks into the room.) DANNY: What do you got? TECHNICIAN: The final location where Mashburn sent the e-mails from Copy That store on West Broadway. (The TECHNICIAN hands DANNY a slip of paper.) DANNY: Anything important? TECHNICIAN: We may have found his accomplice. Ten minutes after he fired off that ransom note, he got an e-mail. (The TECHNICIAN hits some keys on the keyboard and a second e-mail pops up on screen. It reads: [Date: 5/5/03 11:14 a.m. To: 372.664.21.15 Subject: Call me 'Barry, call me ASAP. ] TECHNICIAN: E-mail address is registered to a Stanley Osbourne. Running the particulars. DANNY: Thank you. (DANNY leaves the room.) CUT TO: SCENE #08: [INT. THE TABLE OF CONTENTS - LATE DAY] (SAMANTHA is grunting and panting in pain. She is now lying flat on the floor, her injured leg elevated on a chair. Camera shows that the jeans on her upper leg around the wound is soaked with blood. TED holds her leg up, assisting her any way he can.) TED: Is that high enough? SAMANTHA: Uh-huh. BARRY MASHBURN: How is she? SAMANTHA: You got to get me out of here, Barry. LIBBY COULTER: (softly) She's bleeding really bad. (BARRY is simply frustrated. SAMANTHA'S hands are covered with blood. BARRY walks to the counter. He takes a breath and picks up the phone.) INTERCUT WITH: [INT. REVIVAL MOVIE HOUSE] (The phone rings. JACK answers it.) JACK: Yeah? BARRY MASHBURN: Okay, look ... (In the background, SAMANTHA coughs. She breaths and listens closely to BARRY'S end of the conversation.) BARRY MASHBURN: We need a doctor. JACK: What for? BARRY MASHBURN: Somebody got shot. (MARTIN looks grim. JACK stands up and moves to the window.) JACK: Who? (BARRY nods his head, preparing for the worst.) BARRY MASHBURN: Samantha. (MARTIN lets out a breath.) JACK: How bad is it? BARRY MASHBURN: It-it was an accident. JACK: (hard) I didn't ask you what happened. I asked you how bad it was. (PAULA VAN DOREN turns to look at JACK. MARTIN doesn't move.) JACK: You've been jerking me around for 45 minutes, Barry. BARRY MASHBURN: What are you talking about? You lied to me! You've been lying this whole time! JACK: What the hell you talking about? BARRY MASHBURN: I found her badge, Jack! She's one of yours. (JACK remains silent. MARTIN looks down at the table.) JACK: Okay, Barry, look. I'm really sorry I didn't tell you. I just thought by telling you it'd make the situation worse. But the most important thing is that we have to get medical attention to Samantha now. Do you understand me? Now. BARRY MASHBURN: Well, why-why can't you just send a doctor in here? (JACK looks over at VAN DOREN. She snaps her fingers to get his attention and signals a definite "no". JACK sees it and closes his eyes.) JACK: 'Cause I can't do that. BARRY MASHBURN: Why the hell not? JACK: Because I have no guarantee that you'll let him go, and then I've given you another hostage. (SAMANTHA looks up at the ceiling and takes a deep breath. She continues to pant softly.) BARRY MASHBURN: I'll let him out. I swear. What ... JACK: Let me talk to Samantha. BARRY MASHBURN: Why? JACK: Because she's the person best qualified to tell me what's wrong with her. (BARRY doesn't respond.) JACK: (firmly) Come on, Barry. Just do it! (BARRY sighs and agrees.) BARRY MASHBURN: Okay. (He grabs the phone and walks toward SAMANTHA. SAMANTHA sees him and shakes her head in confusion.) SAMANTHA: What? (BARRY kneels down next to SAMANTHA and holds the phone awkwardly to her ear.) BARRY MASHBURN: All right, here. SAMANTHA: Hello? I can't hear. Hello? JACK: (softly) Samantha. SAMANTHA: Yeah. JACK: How bad is it? SAMANTHA: (grits her teeth) It's my leg. I'm pretty sure it's a through-and- through. Listen, it was an accident. Jack, you don't go tactical! (BARRY pulls the phone away from SAMANTHA.) BARRY MASHBURN: Hey, maybe you could just get some supplies in here, okay? SAMANTHA: Blankets. BARRY MASHBURN: We could use some blankets. SAMANTHA: Gauze. BARRY MASHBURN: Gauze, and, uh, and maybe some more water. JACK: Now, Barry, I want you to listen to me, and listen to me very carefully ... BARRY MASHBURN: (shouts) No! (SAMANTHA is startled.) No, you listen to me! (BARRY grabs the phone and heads back to the counter.) BARRY MASHBURN: You lied to me. You know she's been here this whole time, and you've been talking to her on the phone, probably had some sort of, uh, uh, uh ... coded messages. You know, you say you want to work this out together. That's how you do it -- by lying to me? You want to help her? You send in a doctor. (BARRY slams the phone down.) CUT TO: SCENE #09: [INT. REVIVAL MOVIE HOUSE - EVENING -- CONTINUOUS] (The line disconnects. JACK looks up from the phone in his hand. JACK walks over to VAN DOREN.) JACK: We're not sending in a doctor, we have to send in the SWAT team. PAULA VAN DOREN: (softly) Jack, when I asked you if you could keep your objectivity with Spade inside there, you said you could. Now, she said it was an accident. She said it was a through-and-through. JACK: Yeah, and I think she's not telling the truth. For all we know, he had a gun to her head. We can't take anything she says at face value. PAULA VAN DOREN: SWAT is the last resort. Now, do your job and negotiate your agent out of there. (JACK nods his head and goes back to the phone. VAN DOREN turns around to look at MARTIN.) PAULA VAN DOREN: We need a trauma one medical kit in there right away, please. (MARTIN picks up the walkie-talkie.) MARTIN: CB to health one, come in. (JACK walks back to the window and looks outside at the bookstore across the street.) CUT TO: SCENE #10: [INT. THE TABLE OF CONTENTS (BOOKSTORE) - EVENING/NIGHT -- CONTINUOUS] (Camera moves down slowly on SAMANTHA who is on the floor in the same position, unmoving and in shock. She stares up at the ceiling, unmoving, her face pale, eyes at half-mast. The bandage around her leg is soaked clear through and her breathing labored.) FADE OUT (COMMERCIAL SET) FADE IN. [EXT. NEW YORK CITY LIGHTS (STOCK) - NIGHT] SCENE #11: [INT. CONWAY RESIDENCE - LIVING ROOM -- NIGHT] (VIVIAN sits with GEORGIA CONWAY.) VIVIAN: How long have Peter and Wendy been staying with you? GEORGIA CONWAY: Barry showed up here about two months ago. Says he lost the house, wants me to keep the kids ... and I knew something was off about him, the way he hugged the kids good-bye. Two nights later, the police call. They say they found him unconscious in his van in an enclosed garage, and he had the engine running. He claims he kept it running because of the heat. VIVIAN: And he didn't get himself any psychiatric care? GEORGIA CONWAY: I tried to talk to him, but he wouldn't even admit what had happened. (Quick flashback to: GEORGIA talks with BARRY in her living room.) BARRY MASHBURN: It was an accident, Georgia. GEORGIA CONWAY: Come on, Barry. Where have you been living? BARRY MASHBURN: (quietly) My van. GEORGIA CONWAY: I told you you could live here. BARRY MASHBURN: No, no, no. They are better off without me. GEORGIA CONWAY: Oh, Barry, how could you say that? (GEORGIA CONWAY sits down next to BARRY.) BARRY MASHBURN: I don't know what to do. I-I am so ... angry, all the time. (He sighs.) BARRY MASHBURN: I don't know what's happening to me. (GEORGIA puts a supportive hand on his arm.) GEORGIA CONWAY: (v.o.) I remember the first time I met Barry. (End of flashback. Resume to present.) GEORGIA CONWAY: He was so nervous and shy. But he had this natural sweetness, you know, this innocence about him. And, oh, he adored Nicole. His whole face came alive when she was around him, and ... if she'd walk out of the room, he ... it was almost like he was lost. She was his whole life. CUT TO: SCENE #12: [INT. REVIVAL MOVIE HOUSE - NIGHT] (MARTIN walks in and joins JACK.) MARTIN: Hey, Vivian just had this sent over. (He hands the check to JACK.) That's the check that Sydney cut for Barry. It's $9,000 and some change. It's too bad Barry didn't see that before. (MARTIN looks at the black and white photo of BARRY MASHBURN hanging on the Whiteboard.) JACK: Yeah, I have a feeling that as long as his wife was dead and Sydney is alive, it was never going to be enough. (JACK stands up.) MARTIN: You know, if this guy did kill Sydney, he's not going to have too much regret about Samantha. I mean, she's just another person who betrayed him. (MARTIN turns to look at JACK. JACK looks back at MARTIN.) CUT TO: SCENE #13: [INT. THE TABLE OF CONTENTS (BOOKSTORE) -- NIGHT] (Inside, BARRY and everyone listens to the radio.) CALLER (MAN): (on radio) I guess that's the world we live in these days. You're in a bookstore buying a book for grandma and some whacko comes in waving a gun around and starts shooting people. RADIO D.J.: (on radio) All right. Thanks for calling, Jim. The suspect's name is Barry Mashburn but there's still no word on what could possibly ... [CC VERSION ONLY: NEWSWOMAN (RADIO): The suspect has apparently shot a woman inside the bookstore, and refuses to release her. Police and FBI fear that he's unstable and potentially homicidal, but are trying to negotiate with him.] (BARRY turns the radio off. The camera moves and shows that SAMANTHA is still conscious. She now has white gauze wrapped around her leg. It's just as drenched with blood.) (BARRY picks up the phone.) INTERCUT WITH: [INT. REVIVAL MOVIE HOUSE - NIGHT] (The phone rings. JACK answers it. VAN DOREN and MARTIN both reach for their headsets to listen in on the conversation.) JACK: Yeah? BARRY MASHBURN: They're going to turn me into a maniac, aren't they? JACK: Who, Barry? BARRY MASHBURN: The press. JACK: Yeah, they probably will do that. Sooner or later, it was going to come out. It's inevitable. (BARRY turns to look at SAMANTHA. The bandage around her leg is soaked through with blood and she's lying pale on the floor struggling to breathe. BARRY turns back to the phone.) BARRY MASHBURN: Look, Jack, Jack, I-I never wanted any of this to happen. Okay, I just wanted ... JACK: (quietly) What, Barry? What did you want? BARRY MASHBURN: I don't know. I don't know. I don't know what I wanted. I- I... don't even know what I'm doing here. JACK: Listen to me. You've made some bad decisions, but it's not too late. You can get yourself out of this. BARRY MASHBURN: Okay, okay, Jack, please, tell them that it was an accident. JACK: Look, Barry, I can tell them all of that, but they're not going to believe it until you let Samantha go. (BARRY looks over at SAMANTHA.) BARRY MASHBURN: T-tell them that-that it ... tell the press it-it was an accident and I will-I will ... I will release someone else to you. I promise. (SAMANTHA turns her head and looks at BARRY.) JACK: Why not her? BARRY MASHBURN: No, no, no. She's my insurance. JACK: Against what? BARRY MASHBURN: So-so that you get moving on my helicopter. JACK: Look, Barry, Samantha's life is no more important than anyone else's, but she's the one who's been shot. BARRY MASHBURN: No, th-this is not negotiable, Jack. She stays. (JACK and MARTIN look at each other. JACK takes a moment.) JACK: Who do you want to give me? BARRY MASHBURN: Okay. (BARRY looks around the room at the other hostages. He knows who.) BARRY MASHBURN: The Idiot. (Camera holds on RICHARD.) CUT TO: [EXT. NEW YORK CITY LIGHTS (STOCK) - NIGHT] SCENE #14: [INT. FBI - INTERVIEW ROOM -- NIGHT] (DANNY interviews STANLEY OSBOURNE. He hands STANLEY OSBOURNE a print out of the e-mail message.) DANNY: Mr. Osbourne, you sent Barry Mashburn an e-mail this morning. STANLEY OSBOURNE: Yes, that's right. DANNY: "Barry, call me ASAP." Sounds important. STANLEY OSBOURNE: It was. DANNY: So important that, well, you couldn't say what it was about, right? STANLEY OSBOURNE: I wanted to speak to him in person. I'm his attorney. I needed to speak to him about his restitution from the victim's fund. I'd set up another appointment for him to, uh, sign the papers. DANNY: Wait, another appointment? Why another appointment? STANLEY OSBOURNE: Well, the first one was a disaster. (Quick flashback to: STANLEY OSBOURNE and The Victim's Fund representative are in BARRY MASHBURN'S kitchen.) VICTIM'S FUND REPRESENTATIVE: So, it will come to $687,000. BARRY MASHBURN: Wow, $687,000. $687,000. That's what she was worth? VICTIM'S FUND REPRESENTATIVE: I know ... this is strange to think about, but, um, the formula factors in your wife's annual salary, projections for potential future income ... ...and life expectancy. BARRY MASHBURN: Right, and from this formula, you came up with that number? VICTIM'S FUND REPRESENTATIVE: Yes. BARRY MASHBURN: Okay, so, does that mean that if, um, I go out and raise the money on my own, I could have her back? 'Cause maybe we could work that out. STANLEY OSBOURNE: You're about to lose your house, Barry. BARRY MASHBURN: That's not the point. STANLEY OSBOURNE: What is the point? BARRY MASHBURN: I want somebody to take responsibility. My wife is gone. Now, you want me to sign a paper and promise never to bother anyone again. VICTIM'S FUND REPRESENTATIVE: Mr. Mashburn, I know ... BARRY MASHBURN: She was a wife ... and she was a mother. Now, how the hell do you put a number on that? VICTIM'S FUND REPRESENTATIVE: We don't. This is just the government's way of trying to help you move forward. BARRY MASHBURN: Well, thank you. Okay, you know what? I can't do this right now. Please, leave. STANLEY OSBOURNE: Barry ... BARRY MASHBURN: Please, please ... leave. (End of flashback. Resume to present.) STANLEY OSBOURNE: I tried to reschedule an appointment but he ... he just didn't want to do it. Even when he lost the house. DANNY: Why? Did he want more money, or...? STANLEY OSBOURNE: No. He said it wasn't about the money. CUT TO: SCENE #15: [INT. REVIVAL MOVIE HOUSE - NIGHT] (Camera close up of JACK'S eyes as he stares at the black and white photo of BARRY MASHBURN hanging on the whiteboard. Camera moves to a single word written in red ink and circled: SUICIDAL?) (Camera cuts back to: JACK'S eyes. Then back to the whiteboard where it moves from the single red word to information at the top of the board: WIFE DECEASED CHILDREN - PETER WENDY ) (Camera focuses on the words: WIFE DECEASED.) (Camera cuts back to JACK'S eyes and overlays the words in red: SHORT FUSE VIOLENT IRRATIONAL ) (Cut to Whiteboard: MOTIVE: MONEY REVENGE ) (Cut to: Black and white picture of BARRY MASHBURN.) (Dissolve to: JACK staring at the information, trying to get into BARRY'S head.) CUT TO: SCENE #16: [INT. THE TABLE OF CONTENTS (BOOKSTORE) - NIGHT] (SAMANTHA is on the floor, her leg elevated. The gauze on her wound is soaked even more with her blood. The radio is on.) NEWSMAN (RADIO): According to the FBI, the shooting is now believed to have been an accident, and they are working closely with the gunman, Barry Mashburn, to arrange for the victim to be transported to a hospital. (BARRY MASHBURN turns the radio off.) BARRY MASHBURN: (to RICHARD) Okay, you're going out. RICHARD: What about her? (SAMANTHA turns her head slowly and looks at RICHARD. She doesn't say anything.) BARRY MASHBURN: This isn't a discussion, "Dick". CUT TO: SCENE #17: [INT. REVIVAL MOVIE HOUSE - NIGHT] (Through the window, we see the front door of THE TABLE OF CONTENTS open and RICHARD walks out. Several SWAT team members inch forward to meet with him.) SWAT: FBI, get your hands in the air and turn around! (JACK stands at the window and watches.) SWAT: Come back toward me! (MARTIN joins JACK at the window. They both watch.) SWAT: Right in the middle of your back! SWAT: Hands in the middle of your back! (They handcuff RICHARD.) SWAT: Let's go! Let's go! RICHARD: Wh-what the heck...? (They drag RICHARD off to the side. JACK and MARTIN watch from the window, then leave.) CUT TO: SCENE #18: [INT. BACK ALLEYWAY - NIGHT -- CONTINUOUS] (RICHARD is safely on the other side of the street behind the movie house building. He rubs his uncuffed wrists. JACK and MARTIN approach RICHARD.) RICHARD: What the hell did you handcuff me for? JACK: Standard procedure. For all we know, you could've been an accomplice. We had to check you out. RICHARD: W-wait, you're investigating me? While I've been doing the whole time trying to stop the guy? MARTIN: And you got one of our agents shot because of it. RICHARD: (defensively) Well, maybe, if you guys weren't sitting around here with your thumbs up your asses, we wouldn't have to be in there trying to take the fight ... MARTIN: Why don't you just settle down, all right? JACK: Do me a favor? Just tell me how she is. (RICHARD looks at JACK and there's just something in his voice as he answers the question that does nothing to reassure either JACK or MARTIN of their concerns.) RICHARD: (quietly) She's bleeding all over the place. She's going to die in there. (JACK signals the officer.) JACK: (hoarsely) Take him in. (They lead RICHARD away.) (JACK puts a hand to his forehead. He and MARTIN step aside. JACK takes a couple of steps toward the edge of the alleyway. MARTIN follows him.) MARTIN: (worriedly) You heard what he said. We can't just sit around here anymore. (JACK doesn't respond. He stares at the bookstore across the street and makes a decision.) (He reaches for the holster at his waist and removes it. He shoves it at MARTIN.) JACK: (quietly) Grab that. (MARTIN grabs the gun.) MARTIN: (concerned) What are you doing? (But JACK is beyond listening. His thoughts only on that bookstore. He turns his head and looks outside at the bookstore across the street. He hands his wallet over to MARTIN also.) JACK: Hold down the fort. (And with that, JACK starts walking across the street ... toward the bookstore ... and SAMANTHA.) CUT TO: SCENE #19: [EXT. STREET IN FRONT OF THE BOOKSTORE - NIGHT -- CONTINUOUS] (Determined, JACK walks across the street. MARTIN ducks back into the alley and into the Movie House.) JACK: (yells) Barry! (JACK is across the street. He's moving closer to the bookstore at a rapid rate.) CUT TO: [INT. THE TABLE OF CONTENTS (BOOKSTORE) - NIGHT - CONTINUOUS] (BARRY leans on the counter and stares at the wall in front of him.) JACK: (yells out) (o.s.) Barry Mashburn! (BARRY turns his head and looks at the front door.) (SAMANTHA hears JACK'S voice and turns her head toward the door. She can barely keep her eyes open, her face pale and body shivering despite the heat in the store.) JACK: (o.s.) Barry! (Cut to: JACK reaches the front of the bookstore and stops.) JACK: (shouts) Come to the door, I want to talk to you! CUT TO: SCENE #20: [INT. REVIVAL MOVIE HOUSE - NIGHT - CONTINUOUS] (MARTIN walks into the room carrying JACK'S things in his hands. VAN DOREN stares out the window.) PAULA VAN DOREN: What the hell is he doing? (MARTIN doesn't say anything. He heads for the window to stand next to VAN DOREN and to watch.) CUT TO: SCENE #21: [EXT. STREET IN FRONT OF BOOKSTORE - NIGHT - CONTINUOUS] JACK: (yells) Barry! (Inside, BARRY turns around and motions to TED.) BARRY MASHBURN: Come here. (BARRY puts his arm around TED'S neck and drags him toward the front door.) JACK: (o.s.) Come to the door. I want to talk to you! Come on, Barry, open the door! (Cut to: BARRY peers through the front window blinds.) JACK: (shouts) Open the door! I want to talk! (BARRY unlocks and opens the door and sees JACK standing in front of the store a good distance away. JACK sees that BARRY has a hold of TED and holds the gun to his forehead.) BARRY MASHBURN: (shouts) Who the hell are you?! JACK: I'm the guy you've been talking to. (JACK takes off his badge and shows it to BARRY.) Jack Malone, FBI. BARRY MASHBURN: Well, what do you want? JACK: I want to come in. BARRY MASHBURN: No way! JACK: (coaxing) Yeah, yeah, come on, let me in ... (JACK takes off his tie and throws it aside.) JACK: Look, I got nothing, all right?! Nothing! (He takes off his jacket and drops it to the ground.) JACK: Nothing! No gun. I'm not wired ... (JACK lifts up his shirt and shows BARRY his bare chest.) JACK: Nothing, see? (He puts his shirt down and raises his arms high up above his head.) JACK: Nothing! (BARRY cranes his neck to look at JACK around TED, who is in front of him.) BARRY MASHBURN: (yells back) What do you want? JACK: I want Samantha! (Camera cuts to: SAMANTHA on the floor, pale and shivering, fully aware that JACK is standing just beyond the door.) BARRY MASHBURN: And why should I give her to you? JACK: (shouts) Because she is bleeding to death ... (JACK takes a cautious step toward the bookstore.) JACK: ... and I know that you're not a murderer! (BARRY glances back at SAMANTHA, fearing that what he says is true.) BARRY MASHBURN: Well ... what do I get in return? (Without hesitation, JACK answers him.) JACK: Me. You get me. (JACK walks toward the front door and doesn't stop till he gets there.) JACK: Come on, Barry, it's a great trade! (From the window across the street, VAN DOREN and MARTIN watch.) (Cut back to: JACK reaches the front door.) JACK: (quietly) Come on, Barry, back away from the door. Let me come in. (softly) You're doing fine. (BARRY backs away from the door and the door slowly swings shut. JACK reaches the door and pushes it open before it closes. He steps into the bookstore.) [INT. THE TABLE OF CONTENTS (BOOKSTORE) - NIGHT - CONTINUOUS] [JACK'S POV] JACK: (o.s.) Nice and easy. (JACK sees BARRY holding the gun to TED'S head. He shifts his gaze and sees SAMANTHA in the back of the room, lying on the floor with her leg propped up on a chair. FRAN and LIBBY sit further behind her. Immediately, JACK'S gaze goes back to BARRY.) (JACK steps into the bookstore, the door closes shut behind him.) JACK: (quietly) I swear to you, I got nothing. (JACK cautiously inches his way around BARRY and TED and toward SAMANTHA.) JACK: (calmly) Everything's going to be fine. Just ... it's okay. Nice and easy. (BARRY turns around and keeps his eyes on JACK. JACK continues to walk backward toward the back of the bookstore.) JACK: (cautiously) Everything's going to be fine. I just want to check this out. (BARRY nods and his eyes shift downward toward SAMANTHA.) (JACK steps around SAMANTHA and kneels down next to her. SAMANTHA'S eyes follow JACK, her breathing shallow and labored. JACK reaches down and lightly brushes the hair at her forehead with his knuckles.) JACK: (quietly) How you doing, sweetheart? SAMANTHA: I'm okay. (But she's not. SAM looks at JACK and starts to cry.) JACK: (quietly) Okay. (JACK glances up at BARRY then back down at SAMANTHA.) JACK: (softly) I'm going to get you out of here. (SAMANTHA regains control of her emotions.) SAMANTHA: (calmly) 'Kay. Okay. (JACK puts a hand around the back of SAMANTHA'S neck and helps her up. The two struggle to get her up, SAMANTHA in obvious pain with every movement.) JACK: Easy. SAMANTHA: (panting and in pain) Oh, god! JACK: Easy, easy, easy. (They manage to get SAMANTHA sitting up. JACK is behind her now. He puts his hands under her arms and lifts her up, helping her to stand. She cries out in pain at the exertion.) JACK: It's okay. Okay, let's get you up. SAMANTHA:: Okay, okay. JACK: It's okay. JACK: It's okay. (Again, they struggle, but manage to get SAMANTHA on her feet.) JACK: Okay, grab me. (SAM puts her arms around JACK and he lifts her up off of the floor. She hangs on to JACK and he starts to move toward the front door. BARRY watches them carefully as they pass by him.) BARRY MASHBURN: (shouts) Come back! Or the kid's dead! (Out of camera frame, the front door open.) CUT TO: SCENE #22: [EXT. OUTSIDE BOOKSTORE - NIGHT - CONTINUOUS] (JACK carries SAMANTHA out of the bookstore and to the empty bench just outside the wall.) JACK: Easy. SAMANTHA: (grunts) Oh, god. (He sets her down gently on the bench and looks at her, his hand lingering on the back of her head. SAMANTHA reaches out and cups JACK'S cheek with her bloodied hand.) SAMANTHA: I'm okay. JACK: (quietly) Be back soon, okay? SAMANTHA: (nods) Mm-hmm. (JACK grabs her arm and backs away from her.) (Cut to: VAN DOREN and MARTIN watch through the window from across the street.) (JACK backs away from SAMANTHA. The SWAT team inches forward toward SAMANTHA. JACK heads back into the bookstore.) (With one last look, he pushes the door open and runs inside.) HARD CUT TO BLACK. (COMMERCIAL SET) FADE IN. SCENE #23: [EXT. -- NIGHT] (SAMANTHA is lying on a gurney just outside the EMT vehicle. She's propped up, hooked up to an IV as the paramedics already worked on her and is preparing her for transport. MARTIN walks up to her.) MARTIN: (quietly) Hey, college girl. (SAMANTHA sees MARTIN and starts to cry.) SAMANTHA: (sobbing) I'm so sorry. (MARTIN leans in and reassures her, but SAMANTHA has a tenuous hold on her emotions.) MARTIN: (encouraging) Hey. Hey, you have nothing to be sorry about. I mean, you were fantastic in there. Do you hear me? (SAMANTHA nods and tries to regain control over her emotions.) You did good, okay. (She nods.) Okay? (MARTIN puts a comforting hand on her shoulder.) SAMANTHA: (nods and focuses on MARTIN) Okay. MARTIN: (steadily) You're going to be all right. SAMANTHA: (nods) Yeah. (SAMANTHA keeps her eyes on MARTIN, focusing on what he's saying.) MARTIN: (sighs) Look, I only got five minutes with the okay, and I know it's going to be hard to talk, but I need you to give me whatever you can about the hostages. SAMANTHA: (nods) Libby ... Libby is ... the most likely to panic. Uh... uh, Fran is ... is strong, and Ted ... Ted ... Ted, okay... is, um ... he's-he's too scared to cause any trouble. MARTIN: Okay. And what about Barry? Barry Mashburn. SAMANTHA: Paranoid, volatile, high-strung. MARTIN: Did he mention suicide? SAMANTHA: No. MARTIN: No? SAMANTHA: (shakes her head) Uh-uh. MARTIN: No. Okay, did he talk about his kids? SAMANTHA: (shakes her head) Uh-uh. MARTIN: And what about Sydney? Sydney Harrison? Do you think he killed her? (SAMANTHA pauses as she looks at MARTIN. She starts to cry.) SAMANTHA: I don't know. I don't know. (SAMANTHA starts to loose it again. MARTIN reaches out and places his hand on her head. He brushes her forehead lightly with his thumb.) MARTIN: (whispers) Okay, okay. Okay. (SAMANTHA stops crying. MARTIN continues.) MARTIN: All right. Look, did, he, uh ... did he talk about an accomplice, a partner? (SAMANTHA closes her eyes and thinks about. She's getting tired.) SAMANTHA: Uh... uh ... no, he ... (She looks at MARTIN.) ... he didn't mention a partner. He didn't ... he didn't call anyone. MARTIN: All right, thanks. (MARTIN steps away from the gurney and signals to the paramedics standing on the side.) MARTIN: Okay, guys. Let's get her to the hospital. (They push her gurney into the vehicle.) MARTIN: (to SAMANTHA) You're going to be all right. You hear me? SAMANTHA: mmmm. (They get her inside and start the engine. MARTIN stands there as they close the vehicle doors. MARTIN doesn't move. He continues to stand there and watches as the vehicle (License #AM2946) drives away.) CUT TO: SCENE #24: [INT. THE TABLE OF CONTENTS (BOOKSTORE) -- NIGHT] (Inside the bookstore, everything is quiet. JACK watches BARRY from across the room. BARRY sits on the floor with his back up against the counter, his eyes closed.) (JACK sits on the chair at the back of the room next to LIBBY and FRAN. He turns to look at them for a moment. Then his eyes shift back to BARRY.) (BARRY sighs.) JACK: Barry, um ... I want to talk to you about, uh, Sydney Harrison. BARRY MASHBURN: What about her? JACK: Well, your partner, uh ... he must know about this. It's been all over the news. BARRY MASHBURN: And? JACK: I just think you should call him. I don't want him to panic. BARRY MASHBURN: She's fine. He won't hurt her. JACK: Right, but you told me that if you didn't call him before midnight that he would kill her. BARRY MASHBURN: All right, all right, all right. You know what? I'm tired of this game. I don't want to talk about Sydney Harrison, okay? JACK: I think we have to. I think it's the whole reason we're here. (BARRY holds up the gun and points it at JACK.) BARRY MASHBURN: I mean it, Jack. (Unconcerned, JACK raises his arm in surrender. He won't continue push the issue.) CUT TO: [EXT. NEW YORK CITY (STOCK) - NIGHT] SCENE #25: [INT. REVIVAL MOVIE HOUSE -- NIGHT] (DANNY is inside with MARTIN. He's got a theory that he shares with him as MARTIN eats his dinner.) DANNY: So, the man's nowhere in the area, right? MARTIN: Right. DANNY: How was he planning on getting away? MARTIN: Well, the subway's right here. DANNY: Which is why he picked this bookstore for the drop-off. MARTIN: What do you think? Was he going uptown or down? (DANNY points at the map in front of him.) DANNY: The F goes all the way to Brooklyn, which is an area he knows well. MARTIN: Right. DANNY: What if he ditched his van near one of the subway stops and left Sydney in the back? MARTIN: And there's seven stops between here and there. DANNY: Mm-hmm. I'm going to call transit authority. MARTIN: All right. (DANNY steps away from the table.) CUT TO: SCENE #26: [INT. THE TABLE OF CONTENTS (BOOKSTORE) -- NIGHT] (BARRY paces the floor. He pulls out a cell phone and starts to dial. It rings.) INTERCUT WITH: [INT. CONWAY RESIDENCE - NIGHT] (The phone rings. VIVIAN answers it.) VIVIAN: Conway residence. BARRY MASHBURN: Who's this? VIVIAN: This is Special Agent Johnson of the FBI. (VIVIAN looks at GEORGIA CONWAY and points to the phone. GEORGIA nods her head.) (BARRY looks at JACK, surprised to hear VIVIAN there. JACK doesn't appear surprised at all.) BARRY MASHBURN: What the hell are you doing there? VIVIAN: I'm making sure your kids are okay. (BARRY sighs. He puts the phone down and looks at JACK.) BARRY MASHBURN: You sent someone there to watch my kids? JACK: We just didn't want them to see it on the news. BARRY MASHBURN: All right, uh ... I want to speak to them. Put them on, please. VIVIAN: I'm sorry, Mr. Mashburn, but I can't do that. BARRY MASHBURN: (to JACK) Why won't you let me talk to my kids? (Without missing a beat, JACK points to TED, LIBBY and FRAN sitting on the side.) JACK: You let them go, and I'll put your kids on the phone. BARRY MASHBURN: (exasperated) I'm giving you three hostages so I can talk to my own children? JACK: You got me. That's all the protection you need. BARRY MASHBURN: No! (shows JACK the gun in his hand) This is all the protection I need. You let me talk to my kids, or she dies! (BARRY whirls around and points the gun at FRAN'S head. FRAN cries out in fear.) JACK: (calmly) You pull that trigger, and the whole SWAT team comes in here, and you never get to speak to your kids again. (VIVIAN continues to listen to what's going on inside the bookstore through the phone.) JACK: (from phone) Is that what you want? (BARRY glares at JACK. JACK doesn't budge.) JACK: (quietly) My way's better. (BARRY takes a deep breath.) JACK: (repeats) You got me. It's all you need. (He points the gun at JACK and hands him the phone.) BARRY MASHBURN: Tell her. (JACK takes the phone.) JACK: (to the phone) It's me. VIVIAN: Are you all right? JACK: Yeah. Go ahead and put his kids on the phone. VIVIAN: Are you sure? JACK: (looks at BARRY) Trust me. VIVIAN: O-kay. (JACK looks at BARRY.) JACK: Um ... let them go, I'll get your kids on the phone. BARRY MASHBURN: No. I talk to my kids first. JACK: I've been a man of my word. BARRY MASHBURN: Yeah. So have I. (BARRY points the gun at JACK.) JACK: (compromises) I'll tell you what. Um ... we'll let Ted and Fran go. And you can talk to your kids. And then we let Libby go. BARRY MASHBURN: All right. You can go. (Not waiting another second, TED and FRAN both jump to their feet. TED heads directly for the front door as fast as he can. FRAN grabs her things and follows him just as quickly.) JACK: (to phone) Put his kids on the phone. CUT TO: [EXT. STREET - NIGHT] (The front door opens and TED and FRAN run out of the bookstore. They're met up by the SWAT team. They're pulled aside and to safety.) SWAT: It's the FBI ... SWAT: Come out here. SWAT: Come with me. SWAT: Let's go. (MARTIN watches through the window across the street. He puts his binoculars down.) CUT TO: SCENE #27: [INT. CONWAY RESIDENCE - NIGHT - CONTINUOUS] (VIVIAN hands the phone to WENDY.) WENDY: Hello. BARRY MASHBURN: Hiya, honey. WENDY: Dad, what's happening? They won't tell us anything. BARRY MASHBURN: Well ... I made a mistake, sweetheart. I made a ... a big mistake. WENDY: What did you do? BARRY MASHBURN: That's-that's not important. Honey, what-what is important ... is that you know ... that I love you ... no matter what happens. WENDY: Dad, you're really scaring me. BARRY MASHBURN: Don't be scared, honey. Honey ... Wendy? WENDY: Yeah. BARRY MASHBURN: Honey, I'm sorry. WENDY: For what? BARRY MASHBURN: I'm sorry that I'm not stronger. I should have been stronger for you and Peter. You don't have to say anything, honey. I just ... I just ... I wanted you to know that. Hey, is Peter there? WENDY: He's right here. (WENDY holds the phone out to PETER. He doesn't take it.) PETER: (stubbornly) I'm not talking to him. Tell him to go to hell. WENDY: Shut up, Peter, and talk to him! PETER: (loudly) No! (Through the phone, BARRY hears the exchange.) WENDY: I'm sorry, daddy. He doesn't want to talk to you. BARRY MASHBURN: Okay. I understand. Um ... um ... just tell him that I love him, and that, uh ... and that I'm sorry. WENDY: Okay. Okay. BARRY MASHBURN: Um, I got to go now, sweetheart. I love you. WENDY: (cries) I love you, too. (WENDY hangs up the phone.) (The phone disconnects on BARRY'S side. He turns around and sighs.) BARRY MASHBURN: Well, you kept your end of the deal ... so ... (he looks at LIBBY) ... go ahead. (LIBBY stands up and runs to the door. She opens the door, stops and turns around.) LIBBY COULTER: (to BARRY) I'm really sorry about your wife. (LIBBY leaves the bookstore.) BARRY MASHBURN: See, I told you. I'm a man of my word. (Alone in the bookstore with BARRY, JACK gets to his feet.) JACK: (quietly) Thank you. (Now, it's just the two of them.) CUT TO: WHITEBOARD HOSTAGE LIST: (MARTIN crosses off #2. LIBBY COULTER'S name. He caps the pen and puts it down. The camera rests on the only name left on the HOSTAGE list: #3. JACK MALONE.) FADE OUT. (COMMERCIAL SET) FADE IN. [EXT. TABLE OF CONTENTS - NIGHT] SCENE #28: [INT. THE TABLE OF CONTENTS (BOOKSTORE) -- NIGHT] (BARRY uncaps a bottled water and drinks. JACK sits on the floor and rolls up his shirt sleeves.) JACK: What's going on, Barry? What are you thinking? BARRY MASHBURN: (shakes his head) Nothing. JACK: Come on. It's just you and me. Talk to me. BARRY MASHBURN: Of all the things that happened ... you know what consumes me the most? JACK: What? BARRY MASHBURN: The last time I saw my wife. JACK: What happened? (BARRY laughs softly.) BARRY MASHBURN: Nothing. It was nothing special at all. It was just a ... (Quick flashback to: The morning just before everyone leaves for their day. WENDY looks up at PETER.) BARRY MASHBURN: (v.o.) ... it was just a regular, ordinary day. WENDY: Hey, Dweeb, you just got jam on my vocab sheet. NICOLE MASHBURN: Wendy, that's why we finish our homework the night before and not the morning it's due, okay? (PETER sits down.) PETER: I hate eggs. Why can't we have pancakes? NICOLE MASHBURN: Because the pancake fairy didn't stop here today. Hon, your eggs are getting cold. BARRY MASHBURN: (to phone) Okay, good. Well, I'll call you from the office. Okay, bye. (He hangs up his cell and pushes it into his back pocket.) Well, I'm going to Boston Friday for a tech inspection. And to teach a training seminar. (NICOLE smiles at him.) NICOLE MASHBURN: Wait. So that means that... BARRY MASHBURN: No, no, no, no. There's nothing definite, but, uh ... NICOLE MASHBURN: (proudly) Regional tech manager. Honey, you so deserve it. BARRY MASHBURN: We'll see. All right, c'mon kids, let's go. NICOLE MASHBURN: Oh, hey, Sydney needs me to finish the prep on the Gramercy account today, so ... (to WENDY) ... Bye, sweetie. (She kisses WENDY on the cheek as WENDY heads out the door.) WENDY: Bye, mom. NICOLE MASHBURN: (to BARRY) I don't know what time I'll be home. BARRY MASHBURN: Have fun. I'll cook tonight, okay? NICOLE MASHBURN: Okay, thank you. (BARRY kisses NICOLE and walks out the door.) BARRY MASHBURN: (v.o.) I kissed her good-bye ... and that was it. (End of flashback. Resume to present.) BARRY MASHBURN: I don't know. I don't know. I ... I was ... I was asleep. I didn't know what I had ... until it was gone. JACK: I know that feeling. Walking around like you're asleep. BARRY MASHBURN: Yeah? How so? JACK: Well, you know, outside of this, I got a normal life. I'm married. It's troubled, but ... BARRY MASHBURN: Are you two still together? JACK: No. We're separated. I moved out about, uh ... nine months ago. BARRY MASHBURN: I'm sorry. You got kids? JACK: Mm-hmm, two girls. BARRY MASHBURN: They got names? JACK: Hannah and Kate. BARRY MASHBURN: What's your wife's name? JACK: Maria. (Silence lingers between the two men.) BARRY MASHBURN: What happened? JACK: I don't really know. BARRY MASHBURN: (laughs) Oh. You don't know? JACK: You know, my job is not exactly conducive to a good relationship. BARRY MASHBURN: (chiding) Oh, Jack, that's not a reason. (JACK looks down and considers his response.) JACK: Every day is the same. You're there. They're there. And you just get a little tied up in your ... job, your kids, your life. Pretty soon you forget the last time you had a real feeling. BARRY MASHBURN: What about, um ... what about Samantha? JACK: What about her? BARRY MASHBURN: Well, you seem to have a particular attachment to her. JACK: That's fairly observant, Barry. BARRY MASHBURN: Yeah. Is that why you traded yourself for her? JACK: I don't know. BARRY MASHBURN: You were willing to trade your life for her life. JACK: In that moment, yes, I was. BARRY MASHBURN: Right. (BARRY shakes his head and stands up. He knows.) Unbelievable. You're such a selfish, selfish, selfish petty man. All the things that are happening in the world and you can't figure out how to love your wife. The mother of your children. You're so apathetic, you let it fall apart? JACK: Well, You think you're the only one who lost someone? BARRY MASHBURN: What? JACK: You think that killing yourself was going to make you heroic? Leaving your kids without a father, you think that would be noble? BARRY MASHBURN: What the hell you talking about? JACK: The van, the gas ... I know what happened was horrible. It was inexplicable, but you know what? You pick yourself up and you move on. BARRY MASHBURN: Move on? You don't know what the hell you're talking about. Look at you. You're standing still. Y-y-y-you're-you're treading water! JACK: And look at you! You know what you're good at? You're good at feeling sorry for yourself. That's what you're good at. What about your wife? (BARRY shakes his head and turns away. JACK pushes forward.) JACK: She had friends. She had children. She had a mother. What about them? But no, you make this about you. It's about your pain. You can't see anything else. Just about you, isn't it? Well, you know what? No matter how angry you get, she isn't coming back. BARRY MASHBURN: Shut up, Jack. JACK: She's dead! BARRY MASHBURN: Shut up! JACK: She is gone! BARRY MASHBURN: Shut up! JACK: She's not coming back! BARRY MASHBURN: Shut up! JACK: You got to move on! BARRY MASHBURN: Shut up! (BARRY whirls around and points the gun at JACK'S forehead. JACK closes his eyes.) BARRY MASHBURN: (quietly) I got nothing to lose, Jack. You want to keep talking? Right? (BARRY pulls the hammer back, cocking the gun and letting it rest pointed at the middle of JACK'S forehead.) BARRY MASHBURN: How about that? You feeling something now? (After a moment, BARRY pulls the gun away and steps away.) (JACK remains unmoving. He finally opens his eyes and sees that BARRY'S not there anymore. He takes a quivering breath.) CUT TO: SCENE #29: [EXT. STREET -- NIGHT] (Sirens sound and cop cars pull up around the white van. Officers check the van out. DANNY runs to the window and looks inside.) DANNY: (to the officer) Is this Barry's van? Pop the son of a bitch. Jimmy, let's go. (DANNY heads for the back of the van. Another police car pulls up behind the van. DANNY: Whoa, whoa, whoa. (DANNY pulls out his gun. JIMMY puts a hand on the door.) DANNY: On three. One, two, three. (JIMMY pulls the door open and DANNY points the gun inside. The van is empty except for blankets and clothes strewn in the back.) DANNY: She's not here. (DANNY checks it out. The light of his flashlight rests on a poster with a picture of NICOLE MASHBURN. It reads. MISSING NICOLE MASHBURN PLEASE CALL HER FAMILY 555-0184 WITH ANY INFO ) BLUR OUT TO: SCENE #30: [EXT. - NIGHT -- FLASHBACK] (Quick flashback to: Close up of the wall covered with posters of family and friends missing after 9-11. It's a shrine of sorts, lit only by the light of the candles set in front of it.) (People mill about in front of the wall. Family and friends leaning upon one another as they search for their missing Loved Ones.) (BARRY walks down the stairs looking for NICOLE. He walks into the clearing where he sees a familiar face.) BARRY MASHBURN: Sydney! (SYDNEY is talking with a man. She looks up when she hears her name called.) SYDNEY HARRISON: Barry? (BARRY rushes forward and hugs her.) BARRY MASHBURN: Thank god, you got out. Where's Nicole? SYDNEY HARRISON: I don't know. BARRY MASHBURN: What do you mean? Where is she? SYDNEY HARRISON: (cries) I was never there. I had a breakfast meeting and so I didn't get downtown until everything had already happened. BARRY MASHBURN: Well, have you seen anyone else? SYDNEY HARRISON: No. No, I was hoping. That's why I'm here. (She shows him the poster she made for NICOLE. He takes it and looks at it.) BARRY MASHBURN: Oh, my god. SYDNEY HARRISON: (crying) I'm so sorry. (SYDNEY hugs BARRY and cries.) (Blur out. End of flashback. Resume to present.) SCENE #31: [INT. TABLE OF CONTENTS - NIGHT] BARRY MASHBURN: Well ... guess I'm not going to get my helicopter. Am I? (BARRY turns to glance over at JACK, who rests on the light tan chair with his head tilted back. JACK lifts his head.) JACK: (wryly) No, I guess not. (BARRY sighs.) JACK: You hungry? BARRY MASHBURN: Whatever. JACK: What do you say I get some food sent in? (BARRY looks over at JACK. He makes a grand swinging motion with his gun hand toward the phone.) CUT TO: SCENE #32: [INT. REVIVAL MOVIE HOUSE - NIGHT] (MARTIN is on the phone. VAN DOREN stands next to him.) MARTIN: (to phone) I'll take care of it. (MARTIN hangs up and looks at VAN DOREN.) MARTIN: Jack wants us to send in a pizza. CUT TO: SCENE #33: [INT. TABLE OF CONTENTS - NIGHT] (JACK stands near the counter and picks at the pizza in his hand.) BARRY MASHBURN: Pretty hot in here, isn't it? (JACK doesn't say anything. He looks at BARRY.) BARRY MASHBURN: Tried to sweat me out, didn't you? (nods) Guess you didn't figure that you'd end up being in here. JACK: No, not exactly. BARRY MASHBURN: So, Jack. What do you think? (BARRY holds the gun out in front of him.) BARRY MASHBURN: You get a second chance? JACK: You going to give me one? What about you? You going to give yourself a second chance? BARRY MASHBURN: Oh, come on. We both know that I'm going to jail for the rest of my life. JACK: Not if you tell me where Sydney is. (BARRY sighs. JACK turns around and puts his pizza down on the counter.) JACK: Listen, Barry. You're suffering from extreme trauma. This is just ... This is just fallout. Any jury listening to this will understand. BARRY MASHBURN: (laughs dryly) I don't, I don't think so, Jack. I don't think so. JACK: What did you expect from Sydney? BARRY MASHBURN: I expected her to help. JACK: She did. She did, she got you a job. They fired you because you assaulted the manager. She stopped them from sending you to jail. BARRY MASHBURN: Oh, come on. I don't believe that for a second. (JACK pulls the check out of his pocket and tosses it at BARRY. It lands on the floor in front of him.) JACK: Take a look at that. Open it up. That's a check for almost $10,000 that she stole from her own company to help you. She tried over and over to help you. What did you want her to do? Curl up into a ball and die because she wasn't there? BARRY MASHBURN: Nicole shouldn't have been there. JACK: Nobody should have been there. (BARRY looks at the check and starts to cry. He drops the check to the floor and covers his eyes with his hands.) JACK: $687,000 ... (BARRY continues to cry.) JACK: The value of a human life. (Eyes closed, BARRY sobs and slowly points the barrel of the gun at this own temple.) JACK: That's what they told you at the Nine-Eleven Victim's Fund, isn't it? It's not about the money, though, is it? It's never been about the money. (BARRY shakes his head.) JACK: You just didn't want to sign that document and say good-bye. This has nothing to do with Sydney. You can let her go now. (BARRY takes a deep breath and exhales.) JACK: Just let her go. (BARRY moves the gun away from his head.) JACK: Tell me where she is. BARRY MASHBURN: She's in my storage area. It's, uh ... the Bowry and Fletcher. (JACK doesn't move.) JACK: Thank you. (BARRY takes a shuddering breath.) (JACK takes a step forward and reaches for BARRY'S gun.) JACK: Why don't you just give me that? Okay? (JACK takes the gun.) JACK: I think maybe we should go outside. (BARRY MASHBURN slowly gets to his feet. He holds out his arms away from his body. JACK puts a hand on his upper arm.) (JACK checks BARRY MASHBURN and removes the second gun tucked inside his pants waistband under his shirt.) LYRICS: ["Hallelujah", sung by Jeff Buckley, composed by Leonard Cohen] Well, I heard there was a secret chord / that David played and it pleased the lord ... But you don't really care for music, do you? ... JACK: Okay, you ready? BARRY MASHBURN: (quietly) Yeah. (Both men start walking toward the front door. BARRY MASHBURN is in front and unarmed. JACK follows from behind, both guns in his hands.) CUT TO: LYRICS: And it goes like this, the fourth, the fifth / The Minor Fall and The Major Lift / The Baffled King composing Hallelujah ... SCENE #34: [EXT. ROADWAY IN FRONT OF THE TABLE OF CONTENTS (BOOKSTORE) - NIGHT -- CONTINUOUS] (The door opens and both men walk out. BARRY MASHBURN is in front with his empty hands held up high. JACK exits the store behind him, both guns held up in his hands behind BARRY.) JACK: (instructing) Put your hands, where they can see them, okay? Nice and slow, nice and slow. Don't make any sudden moves. (Cut to: PAULA VAN DOREN and MARTIN both look through the window and see JACK and BARRY MASHBURN walk out of the bookstore.) LYRICS: Hallelujah ... (Cut back to: JACK and BARRY stop walking. JACK continues to instruct BARRY.) JACK: (quietly) Okay, you're going to have to get down on the ground now. (BARRY slowly gets to his knees on the sidewalk. JACK walks around BARRY and turns around to face him. He continues to walk backward onto the street as the SWAT team moves in.) LYRICS: Hallelujah, hallelujah ... (The members of the SWAT team converge on BARRY who remains on his knees on the sidewalk with his hands open and held high.) SWAT: Don't move. SWAT: Hands where I can see them. SWAT: Put your other hand behind your back. (BARRY is handcuffed.) (JACK turns around and heads across the street.) LYRICS: Well, your faith was strong but you needed proof / you saw her bathing on the roof / her beauty and the moonlight overthrew you ... (Cut to: PAULA VAN DOREN watches through the window and slowly shakes her head as she smiles. MARTIN nods his head. It's over.) DISSOLVE TO: [INT. CONWAY RESIDENCE] (VIVIAN is on the phone. GEORGIA CONWAY stands next to her as VIVIAN speaks. VIVIAN puts the phone on her shoulder as she turns to GEORGIA CONWAY to talk with her. GEORGIA CONWAY smiles in relief.) LYRICS: ... She tied you to her kitchen chair ... DISSOVLE TO: [INT. TABLE OF CONTENTS (BOOKSTORE)] (The crime scene officers are inside the bookstore. MARTIN walks across the main floor.) LYRICS: ... then she broke your throne and she cut your hair / and from your lips ... CUT TO: [INT. BOWRY AND FLETCHER (STORAGE FACILITY)] (DANNY and another officer hurriedly walk through the hallway to BARRY MASHBURN'S storage unit. DANNY has his gun drawn while the other officer holds a large lock cutter. He cuts the padlock off of the door.) LYRICS: ... she drew the hallelujah ... (Cut to: Inside the storage unit, the door bursts open and DANNY walks inside. A flashlight shines upon SYDNEY HARRISON, tied up and mouth taped. DANNY: (soundless) Are you okay?! LYRICS: Hallelujah, / Hallelujah ... (The other officer rushes forward and removes the tape from SYDNEY HARRISON'S mouth. She smiles at him. He puts his arms around her and hugs her.) CUT TO: [INT. TABLE OF CONTENTS (BOOKSTORE)] (MARTIN kneels down and picks up something about the size of a wallet. He looks over and sees something else across the floor. He reaches out and picks it up. It has an FBI insignia on its cover. He stands up.) LYRICS: Hallelujah / hallelujah... CUT TO: [INT. BOWRY AND FLETCHER (STORAGE FACILITY) -- HALLWAY] (Wrapped in a blanket, DANNY escorts SYDNEY HARRISON out of the storage unit.) LYRICS: ... well, baby I've been here before / I've seen this room and I've walked this floor ... CUT TO: [INT. TABLE OF CONTENTS (BOOKSTORE)] (MARTIN opens the badge up and looks at SAMANTHA'S ID, his face inscrutable. Whatever his thoughts, he stares at the ID for a moment, nods his head, closes the badge and tucks it into his shirt pocket.) LYRICS: ... you know, I used to live alone before I knew you ... CUT TO: [EXT. STREET - EARLY MORNING] (JACK walks down the empty street toward the camera. He's in his same clothes as the night before, shirt untucked and disheveled.) (Though tired from the long night, he walks with determination and a single- minded purpose toward the building) LYRICS: ... and I've see your flag on the marble arch / and love is not a victory march / it's a cold and it's a broken hallelujah ... (JACK walks up to the building's front door. He unlocks the door and walks inside.) LYRICS: ... Hallelujah, Hallelujah, ... (Camera lingers on the name "MALONE" over the door buzzard.) CUT TO: [INT. MALONE RESIDENCE - EARLY MORNING] (The bedroom door with a picture painting hanging on it opens. JACK walks inside.) LYRICS: ... hallelujah, / hallelujah... (JACK walks between KATE and HANNA'S beds. He reaches down and puts the blanket over KATE'S sleeping form. He reaches down and touches her head. He turns around and kisses HANNAH on her forehead as she sleeps. He straightens.) CUT TO: [INT. MALONE RESIDENCE - BEDROOM - EARLY MORNING] (The bedroom door opens. JACK walks inside. He takes a deep breath, then closes the bedroom door quietly - sure to not wake the sleeping woman in the bed.) LYRICS: ... maybe there is a god above / but all I've ever learned from love / was how to shoot somebody who outdrew you ... (JACK puts his weary frame in the chair near the door, some distance away from the bed where MARIA sleeps. He turns and silently watches her.) LYRICS: ... and it's not a cry that you hear at night / it's not somebody who's seen the light / it's a cold and it's a broken hallelujah! ... (Whatever his thoughts, JACK continues to gaze upon MARIA'S sleeping form.) LYRICS: ... hallelujah / hallelujah ... (For a moment, he closes his eyes. When he opens them, he turns his head and looks at the desk where there's a framed photo of JACK with his children, KATE and HANNA, taken at the office.) LYRICS: Hallelujah ... (Camera drags upward to show that Right above the desk is a FRAMED PICTURE of the WTC twin towers standing tall and prominently in the center of the frame.) LYRICS: hallelu ... (Right next to the picture is an OPENED WINDOW. The camera lingers on the same view as the framed picture except, where the twin towers should be, there's nothing but open skies.) LYRICS: hallelujah, hallelujah... (Camera cuts back to JACK slumped back in the chair as he stares at the view out the window. The emptiness of the missing buildings and missing lives obvious. A tear streams down JACK'S cheek as he silently sits there with his thoughts.) LYRICS: Hallelujah, Hallelu ... (Camera holds on the view outside the opened window.) FADE TO BLACK. ======================== THE END ======================== [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 1X23: FALL OUT (PART 2) ORIGINAL AIR DATE ON CBS: 05/15/2003 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 Starring TOM IRWIN as BARRY Mashburn MARSHA DIETLEIN BENNETT as Sydney Harrison TALIA BALSAM as Marie/Maria Malone BARBARA TARBUCK ELIZA COYLE STEFANI BRASS JOSETTE DICARLO DAVID KAGEN 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: PAUL HOLAHAN ======================== 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 KILEY 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 Country of first publication United States of America Production #175671 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