WITHOUT A TRACE 1X08: LITTLE BIG MAN ORIGINAL AIR DATE ON CBS: 11/14/2002 TRANSCRIBED FROM CBS Written by JACOB EPSTEIN Directed by PAUL HOLAHAN Transcript by Intrepid Courtesy of http://www.webphilia.com/~anthology/wnp.html (Zenith the Authority in HDTV) Please do not archive without permission. RATING: TV-PG-LV ========================== DISCLAIMER: ========================== "WITHOUT A TRACE" and other related entities are owned, (TM) and (c) by JERRY BRUCKHEIMER Television, CBS Productions, and Warner Bros. Television (an AOL Time Warner Company). All Rights Reserved. This transcript was made without their permission, approval, authorization or endorsement. Any reproduction, duplication or distribution of this material in any form is expressly prohibited. It is absolutely forbidden to use it for commercial gain. Leave the headers/disclaimers in tact because it lists all those who have made this transcript possible for your enjoyment and provide a link back to the site where this file originated http://www.webphilia.com/~anthology/wnp.html For corrections / inaccuracies, please contact the Transcriptionist at (intrepidly002@yahoo.com) ========================== SUMMARY: The Team investigates the disappearance of a young teenager who, by all indication, had everything going for him. ========================== WITHOUT A TRACE 1X08: LITTLE BIG MAN ========================== COLD OPEN: [EXT. VARIOUS NEW YORK CITY (STOCK) - NIGHT] CUT TO: SCENE #01: [EXT. CHARBROILED BURGERS DRIVE THRU - NIGHT] (The camera is on the outside of the drive thru looking in through the glass windows. We see that BUTCH is mopping the floor; MR. BRADLEY, the restaurant manager is behind the counter and WILLIAM HOPE is sitting on a table, reading and biting his nails. There are a couple of customers still left in the diner.) [INT. CHARBROILED BURGERS DRIVE THRU - NIGHT] BUTCH: William, quit chewing your nails and grab a mop. We got work to do. MR. BRADLEY: He cleared it with me, Butch. He's got the regent's exam next week. BUTCH: It's a restaurant, not a damn reading room. MR. BRADLEY: William, you know what? Go home, Little Man. Go get some sleep. WILLIAM HOPE: You sure, Mr. Bradley? 'Cause I don't have to do this right now. I can help you close up. MR. BRADLEY: You're covered. Just get here a little early tomorrow. (WILLIAM HOPE closes his book and stands up. MR. BRADLEY turns away. WILLIAM HOPE grabs his book, jacket and backpack and heads toward the door.) MR. BRADLEY: (to customers) Place is closed, gentlemen. WILLIAM HOPE: Hey, have a good night, Mr. Bradley. Hey, happy holiday, fellas. MR. BRADLEY: You too, little man. WILLIAM HOPE: All right. [EXT. CHARBROILED BURGERS DRIVE THRU - NIGHT] (Camera is on the glass doors as WILLIAM HOPE pushes them open and walks outside. He's wearing his jacket and has his backpack slung over his shoulder and walks out across the driver thru's parking lot.) (As he walks across the parking lot toward the camera, the lights on the diner's signs flash on and off. WILLIAM HOPE continues to walk and his figure turns into shadow and vanishes.) DISSOLVE FROM NIGHT TO DAY: SCENE #02: [EXT. CHARBROILED BURGERS DRIVE THRU - DAY] LEGEND: 33 HOURS MISSING POLLY: (o.s.) His name's William Hope. He's 16 years old. (DANNY and a social worker, POLLY, walk into camera frame. They're standing in the parking lot of the Drive Thru.) POLLY: I inherited his file about six months ago. His boss says he left work a little before midnight but his foster parents called, said he never came home. DANNY: No one called the police? POLLY: They said they don't deal with runaways. (POLLY hands the file to DANNY. He glances down at the picture clipped to the file.) DANNY: He looks like he's ten years old. POLLY: It's the only photo I have in his folder. DANNY: He's 16. What's he doing working in this neighborhood six to midnight? POLLY: It's not the ideal environment, but he was working. The situation with the new family is stable. His grades are improving. This is a kid who spent eighteen months on the streets, Danny. He's had it a lot worse. DANNY: Okay, Polly ... I'll see what I can do. But we need to be realistic here. We only have a handful of agents and child services sees thirty of these kids a week. Just like William they're all running away from a bad situation. POLLY: This is not just some runaway. This is a kid whose life is finally working. If he's missing, something terrible has happened to him. CUT TO: [EXT. NEW YORK TRAIN (STOCK) - DAY] SCENE #03: [EXT. CHARBROILED BURGERS DRIVE THRU - DAY] (DANNY is talking with the Manager, MR. BRADLEY, behind the counter.) MR. BRADLEY: Always showed up on time. Never had a problem with him. DANNY: How did he seem on Sunday night? MR. BRADLEY: He seemed tired. But then, you know he's been under a lot of pressure at school. DANNY: But other than that, nothing out of the ordinary? MR. BRADLEY: Well, depends on what you mean by "out of the ordinary." (Quick flashback to WILLIAM HOPE arguing with a group of four customers.) WILLIAM HOPE: No, man, you can't have a cap. RADIO: Give me one of those yellow caps, man. WILLIAM HOPE: No, you can't have a cap. You didn't order no ... MR. BRADLEY: What's going on? WILLIAM HOPE: He wants the key chain. You told me not to hand them out unless they order a kid's super jay. RADIO: I told you, faggot, it's for my nephew. WILLIAM HOPE: Why you got to call me ... ? MR. BRADLEY: He pay for his sandwich? Then go. Get the hell out. RADIO: For what, man? I paid for my food. MR. BRADLEY: I said out, or I call the cops. (RADIO lifts his right hand and points his first two fingers at WILLIAM HOPE as if he were holding a gun. He makes a soft noise, "pooh", as if he fired he imaginary gun aimed at WILLIAM HOPE. RADIO and the other four men he's with turn and walk away.) (WILLIAM HOPE turns to look at MR. BRADLEY. He doesn't say anything. He walks to another area behind the counter.) (End of flashback. Resume to present.) DANNY: Sounds personal. MR. BRADLEY: I guess they know each other from the neighborhood. (BUTCH approaches the two men and adds his input into the conversation.) BUTCH: He told me the same kid jacked him for his paycheck a couple of weeks ago. DANNY: You got a name? BUTCH: I think they call him Radio 'cause his mouth's always running. CUT TO: WHITEBOARD TIMELINE: 10:30 PM - CONFRONTATION WITH "RADIO" SCENE #04: [INT. FBI - MISSING PERSONS UNIT - DAY] (DANNY and JACK enter the office. They walk toward the Whiteboard and conference table area.) JACK: This is all over a key chain? DANNY: It's the South Bronx, Jack. Kids get shot for a whole lot less there. JACK: The cops don't have time for it, right? DANNY: No, but I do. (MARTIN walks across the office holding a file.) MARTIN: Well, nothing from the jails, morgues or hospitals and not much in the way of financial trail either. One savings account with twelve hundred bucks. (The men stop in front of the Whiteboard. JACK sits on the table nearest the board facing both DANNY and MARTIN.) DANNY: That could be money he saved from his job. MARTIN: No credit cards, no cell phones, no pagers. JACK: How's the school check out? MARTIN: He was a good student. He had excellent attendance. This kid stayed out of trouble. JACK: Or under the radar. DANNY: I think we should get the press involved in this one. JACK: 16-year-old black kid goes missing from the foster care system? It's going to be a really tough sell. CUT TO: WHITEBOARD TIMELINE: 7A-NY- ... "WILLIAM" (A hand adds the photograph of ten-year-old WILLIAM HOPE to the WHITEBOARD.) FADE TO WHITE END OF TEASER ROLL TITLE CREDITS (COMMERCIAL SET) FADE IN. [EXT. NEW YORK CITY (STOCK) - DAY] SCENE #05: [INT. RAY RESIDENCE -- DAY] LEGEND: WILLIAM'S FOSTER HOME 36 HOURS MISSING (The door buzzes. JEFFREY lets JACK and SAMANTHA in.) SAMANTHA: Hi. Are Mr. and Mrs. Ray home? (JEFFREY motions for them to follow him up the stairs.) CUT TO: SCENE #06: [INT. RAY RESIDENCE - DAY -- CONTINUOUS] (MRS. RAY shows SAMANTHA inside the house.) MRS. RAY: And at the last minute we had an opening. Children's Services kept telling us what a great kid he was and we moved him in that afternoon. SAMANTHA: When was that? MRS. RAY: Seven months ago. SAMANTHA: How long have you and your husband been foster parents? MRS. RAY: (sighs) Fifteen years. We were never able to have children of our own. My husband and I worked in the justice system for many years and you see it over and over -- how important it is to get to these kids when they're young. Provide them with a stable home environment. (She smiles.) SAMANTHA: You're a dying breed. MRS. RAY: Well, , I'm not going to sugar coat it. We've had our failures, certainly. Here we are. CUT TO: SCENE #07: [INT. RAY RESIDENCE - WILLIAM'S ROOM - DAY -- CONTINUOUS] (The door opens.) MRS. RAY: This is William's room. (SAMANTHA walks inside.) SAMANTHA: Looks like he barely lived here. MRS. RAY: I asked him if he wanted me to take him shopping to personalize it a bit -- put up some posters ... but he didn't want to. SAMANTHA: He's probably moved around so much he's afraid of getting settled. (SAMANTHA looks at the room and a vision of WILLIAM HOPE appears in the middle of the room. He's dressed in casual clothes and stands there biting his nails.) (MRS. RAY walks inside the room. She and SAMANTHA disappear and the camera focuses on WILLIAM HOPE.) MRS. RAY: He keeps a lot bottled up inside. (Cut to: MRS. RAY remembers. She sighs.) MRS. RAY: Breaks your heart, really. (SAMANTHA walks over to the bed where she finds a framed photograph of a girl. She picks it up.) SAMANTHA: Who's this? MRS. RAY: That's his sister, Tasha. SAMANTHA: Where is she? MRS. RAY: Well, there was some trouble in her last foster family. Tasha can be a bit of a banshee. So children's services decided to move her into a group home. SAMANTHA: How was William with that? MRS. RAY: It's difficult. It's the first time they've ever been separated. He's basically supporting her. Well, not food and basics ... extra clothing school books ... he even bought her a pager so he'd know where she was at all times. SAMANTHA: You didn't have room for her here? MRS. RAY: Yes, we do but ... we just can't cut through all the bureaucracy. (pause) You don't usually get involved in cases like this, do you? SAMANTHA: No. Usually they don't call us about cases like this. CUT TO: SCENE #08: [INT. RAY RESIDENCE - LIVING ROOM -- DAY] (JACK interviews MR. MIKE RAY.) MIKE RAY: We've never had any problems with him. Nice, industrious young man. JACK: How does he get along with the other children? (They both sit down.) MIKE RAY: Very well. Real sweet natured with the little ones. Gets them dressed in the morning-- helps them with their schoolwork. There's always going to be little things that rub people the wrong way when you're living in close proximity. People playing their music too loud, things like that. JACK: Is there any possibility that William could have got himself in trouble? MIKE RAY: Anything's possible, but I wouldn't think so. JACK: Is it possible that he hung out with people that could have gotten him into trouble? MIKE RAY: If this were a Scarsdale boy would you even be asking these kinds of questions? JACK: I'm not sure what you're getting at. MIKE RAY: Well, you're assuming that whatever's happened to William he's brought it on himself. JACK: I'm not assuming anything. I'm just asking questions. And they're the same questions I would ask in Scarsdale, Rochester or Chinatown. MIKE RAY: All right, but in the end you'll chalk this one up to another gang hit and that will be that. (JACK doesn't say anything. MIKE RAY grabs the baseball glove next to the chair and puts it on. JACK continues with the questions.) JACK: Earlier you mentioned that William had a brother. What can you tell me about him? MIKE RAY: Aaron. Now, he's a whole different story. He just got out of juvenile hall. Gangs, drugs. He's as different from William as night is to day. JACK: Has he been hanging around lately? MIKE RAY: He's not supposed to be but ... yeah, he was here a couple of nights ago. (Quick flashback to: AARON and WILLIAM sit in the living room. AARON is drinking beer and talking with WILLIAM.) WILLIAM: I'm talking about money, Aaron. I mean, $5,000. AARON: Five Gs? That's some serious cash, man. You for real? WILLIAM: Yeah. (MIKE RAY walks into the room. He looks around and doesn't like what he sees.) MIKE RAY: Hmm. What's going on in here? WILLIAM HOPE: Sorry, Mr. Ray. Are we making too much noise? AARON: (smiling) How you doing, man? MIKE RAY: What do you mean, how am I doing, man? It's 11:30 at night. Come out here, William. I need to talk to you. (WILLIAM stands up and speaks with MIKE RAY on the side.) MIKE RAY: You know the rules of this house. No guests after lights out. And besides that, your brother's specifically not allowed to have contact with you. WILLIAM HOPE: I know, Mr. Ray, but we were just... MIKE RAY: No, no, he needs to go. And he needs to go now, and he's not to come back here, understand? WILLIAM HOPE: Yes, sir. MIKE RAY: Do you have a problem with me, son? Because if you don't want to deal with this, I will. WILLIAM HOPE: It's okay. I'll talk to him. MIKE RAY: All right then. (End of flashback. Resume to present.) MIKE RAY: So, I went back and waited to see what would happen. Fifteen minutes later I heard the door close. William went to bed. JACK: Do you think that William might have been angry that you banned his brother from the house? MIKE RAY: Maybe, but he knew the rules when he moved in here. Children need boundaries. If you ask me, I think he was relieved that someone finally put his foot down. JACK: All right. CUT TO: SCENE #09: [INT. FBI - INTERVIEW ROOM -- DAY] LEGEND: 37 HOURS MISSING (MARTIN questions RADIO.) MARTIN: So, you ate your cheeseburger and you went home. Is that what you're telling me? RADIO: Yep. MARTIN: And you didn't give William a hard time? Huh? You didn't give him a little of this on your way out the door? (MARTIN makes the same hand signal that RADIO did to WILLIAM.) RADIO: I told you, man, we was just messing around. MARTIN: Were you just messing around when you jacked him for his paycheck two weeks ago? RADIO: Come on, man, I don't know a damn thing about that. (The door opens and DANNY walks in.) DANNY: Hey, fellas. MARTIN: Hey. Guess what? DANNY: What? MARTIN: Our friend here says he doesn't know a damn thing. DANNY: No kidding? Hey, you don't mind if I take a DNA sample of your hair, do you? (DANNY leans in and plays with RADIO'S braid.) RADIO: You messin' with my braid, man?! (RADIO stands up and pushes DANNY back. DANNY, ready for RADIO, grabs him and pins him back against the wall.) RADIO: Hey! (Alarmed, MARTIN surges to his feet.) MARTIN: Hey! Hey! Hey! DANNY: (to MARTIN) I got it. I got it. I got it. You ready to tell me the truth? RADIO: Look, I didn't kill him, man. DANNY: Then who did? Who did?! MARTIN: Danny! RADIO: A car came by and picked him up. (Quick flashback to: RADIO turns around and sees a car drive up to the parking lot. WILLIAM HOPE exits the restaurant. RADIO and his gang hurry to catch up with WILLIAM HOPE, but WILLIAM heads straight for the car and gets in the back seat.) KEITH REID (DRIVER): Hurry up, little man. I like your hat. AARON HOPE (PASSENGER SEAT): You know Keith, right? (The car drives off leaving RADIO and his gang back in the parking lot.) (End of flashback. Resume to present.) DANNY: What kind of car? RADIO: I don't know, but I saw his brother, Aaron riding shotgun. DANNY: What make? RADIO: Black Nissan Maxima. What else you want from me? DANNY: Nothing. (DANNY lets RADIO go.) Your government thanks you, Radio. (MARTIN and DANNY leave the room.) [HALLWAY] MARTIN: What the hell was that? DANNY: A little improvisation. MARTIN: It was stupid is what it was. DANNY: Don't get all Mr. Civil Liberties on me now, man. Look, we go through situations like that every single day. And you know what, we deserve to win once in a while. MARTIN: The operative word being "we." Now I'm all for shaking people down to get some answers but you want to pull a stunt like that again you tell me beforehand, or else you and I are going to have a serious problem, all right? (MARTIN walks away, angry.) CUT TO: WHITEBOARD: 12 A.M.: PICKED UP BY AARON IN BLACK MAXIMA SCENE #10: [INT. FBI - JACK'S OFFICE -- DAY] (JACK is on the phone.) JACK: Come on, if this was a white kid you'd be leading with it at 5:00. (pause) No, I'm coming to you first. He's a good kid, okay? He's an honor student ... he ... (pause) (VIVIAN walks into the office and sits down.) JACK: I don't know what the angle is. I don't know ... the testament to the possibilities of social services, something like that. (pause) No, you got to tell me now. Otherwise, I'm going to move on. Okay, thanks. (JACK hangs up.) VIVIAN: I just talked to a contact who works gangs over at the 43rd. He's offering to help us track down Aaron. JACK: Doesn't your brother work at the 43rd? VIVIAN: Yeah. JACK: You talking to him? VIVIAN: No. (beat) Samantha and I are headed over to the group home to speak to William's sister. See if she knows anything. (VIVIAN stands up and heads out the door.) JACK: Okay. CUT TO: [EXT. NEW YORK CITY (STOCK) - DAY] LEGEND: 38 HOURS MISSING SCENE #11: [INT. GROUP HOME -- DAY] (SAMANTHA leans against the door and watches a couple of kids walk down the hallway.) SAMANTHA: Growing up here, I don't even know how these kids have a chance. VIVIAN: Is that your liberal conscience talking? SAMANTHA: That's my heart talking. Where's yours? (IRENE TAFT walks out of her office.) IRENE TAFT: I'm sorry, she's in no condition to talk to you now. VIVIAN: What's the problem? IRENE TAFT: Well, I don't know what Children's Services told you but, uh, Tasha is a child with very serious emotional problems. We've had to confine her to her room. VIVIAN: Ms. Taft, it's very important that we speak with Tasha. Her brother's missing. IRENE TAFT: I'm afraid that's not possible. She's in no shape to talk to anyone right now. SAMANTHA: (steps up) Unfortunately, Ms. Taft, she doesn't have a choice. No one's seen or heard from her brother in over 36 hours. We need to see her now. (IRENE TAFT nods and shows them the way to TASHA'S room.) CUT TO: SCENE #12: [INT. GROUP HOME - HALLWAY/TASHA'S ROOM - DAY -- CONTINUOUS] (They stop in front of the closed door.) IRENE TAFT: She's been out of control all day. (IRENE TAFT knocks on the door.) IRENE TAFT: Tasha? I'm going to open the door now. I want you to behave yourself. (Inside the room, TASHA HOPE stands there and listens. IRENE TAFT opens the door. As soon as the door opens, TASHA HOPE throws her food tray at IRENE TAFT and starts screaming.) TASHA HOPE: Bitch! What did you do with my bag?! (TASHA runs for the door. SAMANTHA catches her and pushes her back into the room.) SAMANTHA: Hey! Hey! Hey! Hey, hey. What are you talking about? TASHA HOPE: I know you stole it! They steal everything in here. IRENE TAFT: Please, you are going to have to leave. TASHA HOPE: Liar! My brother gave me that bag! SAMANTHA: Calm down. IRENE TAFT: She had contraband in her room and we had to confiscate it. VIVIAN: I'd like to see the bag she's talking about. MS. TAFT: Oh, no. That's out of the question. You'll have to talk to the Director. TASHA HOPE: Liar! It's in your office! The Director don't even come down here, you stupid bitch! SAMANTHA: All right, come here. CUT TO: SCENE #13: [INT. GROUP HOME - IRENE TAFT'S OFFICE -- DAY] (VIVIAN opens the bag and finds it filled with bundles of money.) IRENE TAFT: I was going to turn that over to the police. VIVIAN: Yeah, I'm sure you were just filling out the paperwork, right? Sam. (VIVIAN shows SAMANTHA the money.) TASHA HOPE: Hey, that's my brother's money. Lay off it. SAMANTHA: Hey. (VIVIAN puts the money back in the bag and zips it up closed. She looks over at IRENE TAFT.) FADE TO BLACK. (COMMERCIAL SET) FADE IN. SCENE #14 [INT. FBI - MISSING PERSONS UNIT] (VIVIAN kneels in front of TASHA HOPE who sits and sips from a large take-out cup.) VIVIAN: You feeling a little better? TASHA HOPE: It's all right. (JACK joins them.) JACK: You think you might be ready to talk to us now? TASHA HOPE: What for? You going to give me back my bag? JACK: If you help us find William and that money really is his nobody has a right to it but him. TASHA HOPE: Of course it's his money. He earned it at his job. JACK: Okay. Let's just forget about the money for a minute. Your brother's out there and he might be in trouble. Right now, you're the only person that can help him. VIVIAN: Tasha, nobody here wants to hurt William. We just need to speak to him and make sure he's okay. TASHA HOPE: That's it? VIVIAN: Mm-hmm. TASHA HOPE: Just talk to him? If he's okay, you'll let him go? (Quick flashback to: TASHA HOPE'S pager buzzes. She picks it up. She goes downstairs and opens the door for WILLIAM HOPE. He carries the duffle bag with him. He pulls her to the side.) TASHA HOPE: What's going on? Why'd you page me? WILLIAM HOPE: Listen to me. I need you to take this. TASHA HOPE: What is it? WILLIAM HOPE: It's money. A lot of it. It's yours now. TASHA HOPE: What about you? WILLIAM HOPE: Don't worry about me. I'm going to be okay. TASHA HOPE: Where are you going? WILLIAM HOPE: Don't ... shh! TASHA HOPE: William! WILLIAM HOPE: The less you know right now, the better. You got to trust me, okay? Anybody ask about me, you don't know. You haven't seen me, you haven't heard from me. Tasha, I love you, all right? Always remember that. Now go, get out of here. (He hugs her.) (End of flashback. Resume to present.) VIVIAN: And that's it? He didn't tell you where he was going? TASHA HOPE: No. JACK: He didn't leave you a contact number? TASHA HOPE: I told you no. Can I go now? (SAMANTHA opens the door and calls to JACK.) SAMANTHA: Jack. (JACK steps outside.) JACK: What's up? SAMANTHA: I just got off the phone with children's services. They said they found a bed for her in a different group home at least for a couple of days. JACK: It's better than nothing. CUT TO: WHITEBOARD TIMELINE: 4 AM -- WAKES UP SISTER [EXT. NEW YORK CITY (STOCK) - DAY] SCENE #15: [INT. LAW OFFICES -- DAY] (MARTIN interview's AARON'S lawyer, MR. STRIGNOLI.) MR. STRIGNOLI (LAWYER): You're looking for Aaron Hope, huh? What's he supposed to have done this time? MARTIN: We think he may have some information pertaining to a missing persons investigation. Any idea where we can find him? (MARTIN sits down.) MR. STRIGNOLI (LAWYER): Your guess is as good as mine. They don't call me when they're released from detention just when they're about to go back in. MARTIN: When was the last time you spoke with him? MR. STRIGNOLI (LAWYER): Uh ... couple of months ago. His case was assigned to me through the Public Defender. Pretty twisted little ball of pathology, that kid. You know, petty theft, street crimes mostly. By the time I got him, he's up to armed robbery. Kid was damned lucky, too. He could've gone away as an adult. MARTIN: So what turned it around? MR. STRIGNOLI (LAWYER): The fact that he had me ... his age, plus his co- defendant was even worse. MARTIN: Co-defendant? MR. STRIGNOLI (LAWYER): Hmm ... Keith Reid. A real moron. It was his gun they used in the robbery. MARTIN: How do I track Mr. Reid? MR. STRIGNOLI (LAWYER): Try the army. Those were the terms of his plea bargain. Juvie till he turned 18, then he had to enlist. It's funny that you're down here asking me this right now. MARTIN: Why's that? MR. STRIGNOLI (LAWYER): I haven't thought about Aaron in a long time. And then out of the blue I get a call from little brother. MARTIN: William called you? MR. STRIGNOLI (LAWYER): Yeah. I got to know him a little bit during Aaron's trial. Used to come down to the courtroom sit there chewing his nails. Then the other day, Friday he shows up in my office saying he needs some legal advice. (Quick flashback to: WILLIAM walks into the office.) MR. STRIGNOLI (LAWYER): William, how you doing, young man? It's good to see you. (They shake hands.) WILLIAM HOPE: Good, good. MR. STRIGNOLI (LAWYER): Yeah, yeah. Come on, sit down, sit down. (WILLIAM sits down.) Seen your brother lately? WILLIAM HOPE: Yes, sir. He's out now. I saw him the other night. MR. STRIGNOLI (LAWYER): So what's up? You say you need some help. WILLIAM HOPE: Yeah. It's my sister. I need to get her a lawyer. MR. STRIGNOLI (LAWYER): Why, what happened? WILLIAM HOPE: Nothing she's done. Children's Services, they placed her in this group home. It's a bad situation, Mr. Strignoli. They got her medicated all the time. She's not going to school. MR. STRIGNOLI (LAWYER): What's the caseworker say? WILLIAM HOPE: Caseworker's the one that put her in there. MR. STRIGNOLI (LAWYER): Oh. WILLIAM HOPE: Those people don't care about her, man. That's why she's got all these behavioral problems. If I could get her out of there and get her over here with me ... where we're together ... MR. STRIGNOLI (LAWYER): How old are you again? WILLIAM: Sixteen. But I'm working full-time. MR. STRIGNOLI (LAWYER): Sixteen years old, William, no family court's going to remand her to your care. WILLIAM HOPE: I'm ... I'm not asking for that. Just keep us together, that's all. MR. STRIGNOLI (LAWYER): Yeah, but, William, we're talking about a heavy price... WILLIAM: I know what it cost, Mr. Strignoli, and ... I'll get the money. (End of flashback. Resume to present.) MR. STRIGNOLI (LAWYER): Well, he said he was working full-time and money was not an issue. MARTIN: This kid's working for minimum wage and he drags his ass all the way down here from the south bronx. You ever hear of pro bono? MR. STRIGNOLI (LAWYER): I mean, I'm a criminal attorney, you know. I don't have any expertise in family law. I told him I'd ask around. He was supposed to call me on Monday. I never heard from him, I figured that was that. CUT TO: SCENE #16: [INT. FBI - MISSING PERSONS UNIT -- DAY] (SAMANTHA picks up the sheet from the printer.) VIVIAN: Well, it's got to be drug money. SAMANTHA: If he's got 25 grand in his back pocket why is he working at Jim's barbecue burger? VIVIAN: Probably the brother's operation. SAMANTHA: So why'd he show up at 4:00 A.M. And have Tasha stash it? VIVIAN: Somebody's on to him. SAMANTHA: Well, there were no major robberies in the area that night. The only thing on t police log between midnight and 4:00 A.M. Is a donut shop got hit for a couple hundred bucks. (VIVIAN sees someone walk in.) VIVIAN: Detective Ellis. DET. FRANK ELLIS: Agent Johnson. (They shake hands.) VIVIAN: This is Agent Spade. (They shake hands.) DET. FRANK ELLIS: Didn't know they made them like this at the bureau. SAMANTHA: Yeah. And I walk and talk, too. And I'm anatomically correct. (SAMANTHA walks away.) VIVIAN: Frank works the South Bronx with my brother. DET. FRANK ELLIS: He sends his regards. VIVIAN: Yeah, I'm sure. DET. FRANK ELLIS: Alton never forgave Viv for going Federal. VIVIAN: Anyway, thanks for coming. Do you know anything about Aaron Hope? DET. FRANK ELLIS: Hope. Uh, yeah, sure. I dealt with him a couple times. Penny-ante stuff mostly. VIVIAN: He just got out of juvie. DET. FRANK ELLIS: How's this in your lap? VIVIAN: He's got a younger brother who's gone missing and we think it might be drug related. So I called you. DET. FRANK ELLIS: This the kid? VIVIAN: Unfortunately it's six years out of date. DET. FRANK ELLIS: No. I never seen this one. SAMANTHA: We think sometime between midnight and four a.m. monday they came into possession of several thousand dollars and it's tied into the disappearance. DET. FRANK ELLIS: I'll check the log, but I don't recall hearing about any major takedowns that night. SAMANTHA: Well, a donut shop was hit at 3:30 that morning. DET. FRANK ELLIS: I'll check it out. You know, if these two knuckleheads ripped somebody off ... this neighborhood, heavy hitters? It's going to be bodies piling up. CUT TO: [EXT. NEW YORK CITY BRIDGE (STOCK) - DAY] SCENE #17: [EXT./INT. FORT DIX -- MILITARY BASE] LEGEND: 39 HOURS MISSING (MARTIN walks in to question KEITH REID.) MARTIN: Private Reid. KEITH REID: Yes, sir. MARTIN: Agent Fitzgerald, FBI. I see your army career is off to a promising start. KEITH REID: It's all gravy. They said they found contraband in my suitcase, so, uh... MARTIN: I need to ask you a few questions. You know a William Hope? KEITH REID: Yeah, I know his older brother Aaron, why? MARTIN: Well, he failed to return to his foster home Sunday night. He was last seen at the corner of Baltic Avenue and Mosholu Parkway climbing into a black Nissan, we believe is registered to you. KEITH REID: Yeah, yeah, I saw him. Me and Aaron were out kind of late celebrating, you know. Last night before basic training and all. William paged us, said he was kind of jammed up. MARTIN: You offer to give him a lift home? KEITH REID: That's right. MARTIN: Well, what time did you drop him off? KEITH REID: I wouldn't know that, sir. (stands up) We picked him up about 11:45 and, uh they took me straight to the bus station. MARTIN: Oh, yeah, what time was that? KEITH REID: About 12:30. Then I caught the 1:00 A.M. Bus out here. MARTIN: Uh-huh. What'd you do with your car? KEITH REID: Gave it to Aaron. I ain't got no use for it in here. He's taking care of it for me. MARTIN: Well, any idea how I can find Aaron? KEITH REID: No, sir. You try that halfway house? MARTIN: Thanks. Keep up the good work, soldier. KEITH REID: Yes, sir. (MARTIN leaves.) CUT TO: WHITEBOARD TIMELINE: 12:30 - W & A DROP KEITH REID GREYHOUND TERMINAL SCENE #18: [INT. FBI - JACK'S OFFICE -- DAY] (MIKE RAY walks into the office.) MIKE RAY: Thank you for seeing me, Agent Malone. JACK: It's a pleasure, Mr. Ray. Please sit. What can I do for you? MIKE RAY: How are you doing with the media coverage on this case? JACK: (sighs) Not very well. MIKE RAY: Why is that? JACK: I don't control the media. MIKE RAY: So how's the investigation going? JACK: We're doing everything we can. MIKE RAY: Don't "handle" me, sir. Please. Have enough respect for me to tell me the truth. JACK: Okay. The truth is that William went to his sister's house with $25,000 in cash. (MIKE RAY is surprised.) How can you explain that? MIKE RAY: I can't. JACK: Normally at this point we would turn over the investigation to the local police. MIKE RAY: But you're not. JACK: No. MIKE RAY: Why not? JACK: Because William's not from Scarsdale. And until we find out what happened to him, the case is still ours. (MIKE RAY nods. JACK sees VIVIAN in the hallway. She's on the phone. She opens the door and JACK stands up to meet with her.) JACK: Excuse me. VIVIAN: It's Samantha. They found Keith Reid's car. JACK: Where? VIVIAN: 181st street. CUT TO: [EXT. NEW YORK CITY (STOCK) - DAY] SCENE #19: [INT. 181ST STREET - GARAGE -- DAY] (SAMANTHA is on the phone. DANNY is inside the car checking it out.) SAMANTHA: No, it's bad. There was blood all over the seat. Came in about 45 minutes ago. Yeah, okay, bye. (SAMANTHA hangs up. DANNY shows SAMANTHA the bagged hat.) DANNY: Sam, I found William's hat under the front passenger seat. SAMANTHA: Looks like your friend Radio left out a few details. DANNY: Possibly. SAMANTHA: We still don't know if the blood came before or after William went to his sister's. (On the dashboard are flecks of white powder. DANNY runs his finger through it and tastes it.) DANNY: Sugar. You know ... like Confectioner's sugar like the kind bakers use. Didn't a donut shop get knocked over that night? SAMANTHA: Yeah. CUT TO: SCENE #20: [EXT./INT. DONUT SHOP - DAY] (SAMANTHA fills JACK in on the details.) SAMANTHA: Store was robbed around 3:30 monday morning. Neighbor reported a single gunshot. That's three hours after they dropped Keith at the greyhound and half an hour before William stashed the money with baby sister. JACK: Danny inside? SAMANTHA: Yeah. (SAMANTHA's cell phone rings. She answers it.) Hello? (JACK walks in to the donut shop; SAMANTHA answers the phone.) DET. FRANK ELLIS: Night clerk identified two African American males, medium build between the ages of 18 and 25. JACK: What was the take? DET. FRANK ELLIS: They told officer Betancourt 150 bucks in the till. JACK: Okay. (JACK walks away from DET. FRANK ELLIS and stops by DANNY.) We just got to figure out where that $25,000 came from. DANNY: Just the same ... it matches the timeline. Those kids were here, Jack. JACK: You can't always call them the right way. CUT TO: WHITEBOARD TIMELINE: 3:20 A.M. ROBBERY AT MS. DONUTS FADE TO BLACK. (COMMERCIAL SET) FADE IN. [EXT. NEW YORK CITY (STOCK) - DAY] LEGEND: 54 HOURS MISSING SCENE #21 [INT. FBI -- OFFICES] (MARTIN and JACK look over the security video from the donut shop robbery.) JACK: Freeze it there. MARTIN: Sure. JACK: He's wearing that hat from the burger joint. But not the pants or shirt. What did they do? Bring him a change of clothes? (VIVIAN walks in holding a copy of the New York Post.) VIVIAN: See what your friends from the city desk had to say? At least we got his in the paper. (She puts the paper on the table to show JACK the headline: "Police Seek Honor Student & Ex-con Brother in Bronx Heist".) (VIVIAN walks away.) CAMERA PANS OVER TO: (DANNY walks POLLY out of the office.) DANNY: It just doesn't look good, that's all. POLLY: You think Aaron killed him? DANNY: It's one of the theories. POLLY: What are the others? DANNY: Well, they went to Tasha's house sometime after 4:00 A.M. We still haven't found Aaron, so ... POLLY: William would never hurt his own brother ... over money? DANNY: Look it, Polly I shouldn't be having this conversation with you. Okay, we're still in the process of putting the pieces together, and ... POLLY: He was trying so hard. I just talked to him last week about applying to colleges, regents exams. He was so worried. DANNY: About what? POLLY: His work, family, school. He was afraid he couldn't hold it together. He was afraid he'd end up just like his brother. DANNY: Polly, you cannot baby-sit these kids 24 hours a day. At one point or another they're going to have to make the right decision. I did. I was a kid just like William at one point and I made the right decision. So ... (MARTIN passes DANNY and POLLY on his way down the hallway.) MARTIN: Taylor, they're bringing Radio back in. DANNY: (to POLLY) I will call you as soon as I know something, okay? (DANNY follows MARTIN.) CUT TO: [EXT. NEW YORK CITY (STOCK) - DAY] SCENE #22: [INT. RAY RESIDENCE -- DAY] (MRS. RAY is on the phone. JACK is talking with MIKE RAY. VIVIAN waits for MRS. RAY.) MRS. RAY: (on phone) All right, who is this? Hold on. (to MIKE) Mike ... it's some reporter from FOX News. He wants to know if we'll consent to an interview. JACK: Tell him "no comment." MRS. RAY: (to phone) No comment. MIKE RAY: I guess your friends in the media finally think this is a story worth covering. (He sits down.) JACK: Look, Mr. and Mrs. Ray I can't advise you whether to talk to the media or not but I think I can tell you it might be a good time to get a lawyer. MIKE RAY: Jeffrey, go to your room. Everything's all right. MRS. RAY: I'll take him. Come on, sweet pea. (MRS. RAY and VIVIAN take JEFFREY out of the room.) MIKE RAY: Is it really possible that it's William's blood in the car? JACK: They're still running the forensics analysis. We won't have anything conclusive for a few hours. MIKE RAY: How are we going to explain this to them? William was a hero to these children. JACK: Too early to talk about him in the past tense. We're not certain that the worst has happened. MIKE RAY: (upset) His blood is all over that car. His brother got him roped into some robbery. If he's not dead, he's a fugitive. You tell me, Agent, how is that not the worst that could have happened? (MIKE RAY covers his eyes.) CUT TO: SCENE #23: [INT. RAY RESIDENCE - HALLWAY - DAY -- CONTINUOUS] (VIVIAN talks with MRS. RAY.) MRS. RAY: I'm so sorry, Agent Johnson. We're all just trying so hard to make sense of all this. VIVIAN: Hey, it goes with the territory. MRS. RAY: We worked so hard, all of us, to help William but it's ... it's just so disheartening. VIVIAN: William came to you, didn't he? He was scared of how your husband would react. He was in trouble and he knew he could talk to you. MRS. RAY: He didn't come to me, Agent Johnson, that's my point. He didn't come to either one of us. We so desperately wanted him to trust us -- to be a part of this family. (Quick flashback to: WILLIAM HOPE listens to music on his earphones. MRS. RAY walks into the room.) WILLIAM HOPE: Sorry, Miss Ray. I didn't hear you knock. (He removes the earphones.) MRS. RAY: I thought I would come check on you. See how you were doing. You seemed a little distracted at dinner. WILLIAM HOPE: I'm okay. (MRS. RAY sits down on the bed.) MRS. RAY: Mike's worried about you, William. He said that Aaron's been at the house. You've been spending time with him. WILLIAM HOPE: Why is he worrying you about that? I mean ... it's not your problem. MRS. RAY: I believe it is our problem as long as you're living under this roof. Has he asked you for money? How much? WILLIAM HOPE: He's my brother and it's my money. So what? MRS. RAY: William, that's money that you earned and it's money that you and your sister depend on. WILLIAM HOPE: He's my brother, Miss Ray, and, uh ... it's none of your damn business. (He gets up and leaves the room.) MRS. RAY: William ... (End of flashback. Resume to present.) VIVIAN: So, you were afraid of this all along -- that he'd lose his way. MRS. RAY: The louder I talked-- the louder any of us talked -- the less he heard. CUT TO: SCENE #24: [INT. FBI - INTERVIEW ROOM -- DAY] (MARTIN and DANNY question RADIO. DANNY dangles the key chain in front of RADIO. RADIO looks at it.) RADIO: So? DANNY: Isn't this what started this whole chain of events? See, the way I see it is you mess with William, he got scared he called his older brother they got into trouble and, well you're responsible. RADIO: Look, whatever they got into that night, that's on them. You can't hold me on account of none of that. MARTIN: So, what do you hear? RADIO: Well, it ain't my turf, but I heard a few things. MARTIN: What things? RADIO: The word is, William and Aaron have been planning this for months. Little brother was just waiting for his opportunity, that's all. Soon as Aaron got out of juvie, they rip off a ton of money and catch a jet down to South America somewhere. MARTIN: Whose ton of money? RADIO: Heavy hitters, that's all I know. They the ones that was fronting that doughnut shop. MARTIN: Are you sure? RADIO: 24-hour pharmaceuticals, dog. Crack, X, rock, all of that. Cops didn't even know it was there. But little brother knew. DANNY: Hey, Radio, you see how pleasant this whole process can be when you give us what we want? RADIO: Well, since I served my country do I get a letter from the president? MARTIN: Now, one more question and we'll see. Suppose somebody gets shot out there and they can't go to a hospital, what do they do? RADIO: Besides die? CUT TO: SCENE #25: [INT. FBI - INTERVIEW ROOM -- DAY] (MARTIN and DANNY question MR. BISHER.) MARTIN: Where were you early Monday morning, Mr. Bisher? Or do you go by Doctor Bisher? I just want to get the honorific right. DR. BISHER: I don't know what you're talking about. Well, let me help you out. MARTIN: You had some visitors at your apartment around 4:00 A.M. monday morning. What are you looking at him for? Stop wasting our time. We know what you do on the side to make extra money. DR. BISHER: Am I supposed to be intimidated? I'm a U.S. Citizen. MARTIN: And you're subject to the same laws like the rest of us. You have any idea of the penalties for performing medical procedures without a license? DR. BISHER: I have a medical degree from an excellent university in Kenya. MARTIN: That's great, but it doesn't exactly cut it in this country, does it? DR. BISHER: I got a call, some street kid said there's been a shooting. (Quick flashback to: One man half drags, half carries the other down the alleyway toward the front door. MR. BISHER steps outside. End of flashback. Resume to present.) DR. BISHER: The bullet had entered his lung. He was seeping blood. I told him I had no way of dealing with injuries this severe. If they didn't get their friend to an emergency room at once, there was no question he would die. DANNY: Wait a second, sir. How many of them were there? DR. BISHER: All together ... three. (MARTIN looks up at DANNY.) CUT TO: WHITEBOARD TIMELINE: 3:55 AM -- ARRIVES AT "DOCTOR" [EXT. NEW YORK CITY (STOCK) - DAY] LEGEND: 58 HOURS MISSING SCENE #26: [INT. FBI - MISSING PERSONS UNIT -- DAY] (DANNY, JACK and MARTIN share information.) MARTIN: Keith said they dropped him at greyhound about 12:30. So unless they picked up another friend along the way Keith lied to us. JACK: He was the third kid. MARTIN: Yeah. It looks like I'm taking another trip back up to Fort Dix. (SAMANTHA walks up to them.) SAMANTHA: I just got a call from the morgue ... a kid matching William's description. DANNY: Where did they find him? SAMANTHA: In a boat pond, 9:00 this morning; gunshot wounds. (JACK sighs.) CUT TO: SCENE #27: [INT. HALLWAY / MORGUE] (DANNY and SAMANTHA escort TASHA HOPE to the morgue. She stands at the window and looks in. Inside the morgue area, DET. FRANK ELLIS motions for the coroner to lift the sheet.) (TASHA looks at the body, then glances down.) TASHA HOPE: Yeah, that's my brother. SAMANTHA: That's William? (TASHA nods.) SAMANTHA: Okay. I'll take her out of here. (SAMANTHA and TASHA leave. DANNY looks at the body. He gets a thought and enters the morgue area.) DANNY: Could you give me a second? Excuse me. (DANNY looks at the victim's hands.) DANNY: This isn't William. DET. FRANK ELLIS: How do you know? DANNY: Everyone we talked to said he used to bite his fingernails down to the quick. I don't know who the hell this is but this is not William Hope. (DANNY puts the sheet back over the body.) FADE TO BLACK. (COMMERCIAL SET) FADE IN. [EXT. NEW YORK CITY (STOCK) - DAY] LEGEND: 59 HOURS MISSING SCENE #28: [INT. FBI - HALLWAY -- DAY] (DANNY walks POLLY through the hallway.) POLLY: What do you mean it's not her brother? You think she's so unstable she doesn't know what her own brother looks like? DANNY: I think she's lying. POLLY: Why would she do that? DANNY: She's terrified. We think she's protecting her big brother. That's what she's doing. POLLY: From what? DANNY: That's what we're trying to figure out, Polly. (DANNY and POLLY peer in through JACK'S office window.) CUT TO: SCENE #29: [INT. FBI - JACK'S OFFICE - DAY -- CONTINUOUS] (SAMANTHA and JACK question TASHA HOPE.) JACK: Tasha, I need you to listen to me very carefully. I know you're scared. We know that your brother is not dead. SAMANTHA: Who told you to go down there and tell us the body was William's, Tasha? JACK: Tasha, William's foster parents have confirmed that the body is not his. (VIVIAN is on the phone.) VIVIAN: I got NYNEX on the line. She got a call on her pager this morning at 8:30. A motel in Newark. It's gotta be Aaron, right? CUT TO: SCENE #30: [INT. FBI - HALLWAY -- DAY] (DANNY drags AARON by his arm through the hallway. JACK follow behind.) AARON HOPE: All right, look, what kind of guarantees do I get? JACK: You get nothing. We hold all the cards. You hated him so much you had to destroy him, huh? AARON HOPE: Look, I love my brother William, man. All I ever wanted what was the best for him. [INTERVIEW ROOM] DANNY: You love him? Brother? Is that why you got him involved in a felony? JACK: You care about your brother so much tell us what happened. AARON HOPE: Seriously, man. It was never supposed to happen like that. (AARON leans his forehead against the mirrored window.) (Quick flashback to: The car speeds down the street. AARON HOPE: (v.o.) William paged me and said he was being hassled ... KEITH REID: This cat better be here. AARON HOPE: (v.o.) ... Could I get him a ride home? KEITH REID: Where this cat, man? (WILLIAM HOPE exits the restaurant. On the side of the building the gang members wait for him.) AARON HOPE: There you go. (WILLIAM rushes over to the car just as the other gang members run up after him.) KEITH REID: Hurry up, man. I like your hat, little man. AARON HOPE: You know Keith, right? (They drive off.) (End of flashback. Resume to present.) (DANNY pushes AARON HOPE down to his seat.) AARON HOPE: Yeah. William just wanted to be dropped home. He had exams in the morning. Keith was tripping. JACK: Whose idea was the robbery? AARON HOPE: (sighs) Just supposed to grab some donuts and a couple of dollars. (Quick flashback to: The car turns in to the donut shop parking lot. They park the car. WILLIAM HOPE: What are we doing here? What's going on, Aaron? KEITH REID: You up for some adventure, little brother? Yeah, we gonna make a man out of you tonight, baby. AARON HOPE: No, no, no. Leave him out of this, Keith. He ain't ready for this yet. KEITH REID: Open the glove box, man. (AARON opens the glove compartment and finds a gun inside. He takes the gun out. WILLIAM doesn't like the look of things.) AARON HOPE: Yeah. WILLIAM HOPE: What's going on? Aaron, put the gun back, man. KEITH REID: Yeah, baby, it's like that. AARON HOPE: Stay in the car, William. Do what I say. KEITH REID: Come on, boy. (KEITH REID and AARON HOPE get out of the vehicle and enter the donut shop.) AARON HOPE: (v.o.) The play was for me to black out the security camera and Keith would take the cashier. (KEITH REID goes behind the counter and robs the cash register. He grabs a donut and shoves it in his mouth.) KEITH REID: Get down on the floor and lay down, boy! KEITH REID: Hey, baby! It's payday, baby! (While he's behind the counter, he finds a duffle bag with money in it.) KEITH REID: Hey, hey! AARON HOPE: Let's go, man! KEITH REID: Hey, hey! AARON HOPE: Now! AARON HOPE: (v.o.) The bag was just sitting there under the counter. AARON HOPE: Let's go now! Now! Hurry up! (They run out of the donut shop and toward the car. AARON HOPE gets into the car. KEITH REID gets shot in the back as he's leaving.) (End of flashback. Resume to present.) AARON HOPE: It was real bad. He had blood coming all out of his mouth. (pause) We had no idea they were dealing drugs out of there. He was begging me to take him to the hospital but it was too late for that. DANNY: Why? AARON HOPE: 'Cause he'd hunt us down and kill us both. DANNY: Who would? AARON HOPE: That dirty cop. (Quick flashback to: As AARON HOPE and KEITH REID run out of the donut shop, DET. ELLIS tears out of the back of the shop. He lifts his weapon and fires.) (He runs around the counter as the boys pull KEITH REID into the car. He makes it to the front door as the car pulls away. WILLIAM HOPE looks out of the back window and looks at DET. ELLIS as he points his gun at the moving car.) (End of flashback. Resume to present.) AARON HOPE: It was Ellis. JACK: Ellis is dirty? AARON HOPE: He was on the take, man. We didn't know he was looking out for that place. Must have been hanging out in that back storage room or something. Soon as that cop saw William's face, his life was over. DANNY: No, as soon as you picked your little brother up at work, his life was over. AARON HOPE: (regretfully) I know this, man. (swallows) Believe me, I know this. JACK: Whose idea was it for William to assume Keith's identity? AARON HOPE: Mine. (Quick flashback to: AARON shaves off WILLIAM'S hair.) AARON HOPE: Keith had all his stuff in a duffel. He had an electric razor in there. Put on Keith's glasses. (End of flashback. Resume to present.) AARON HOPE: After I dropped him off at greyhound we drove around for a while. Then just before sunup, I ... dumped Keith's body in that lake in Van Cortland park. Figured it was about to freeze up. Cops wouldn't find him till springtime. CUT TO: SCENE #31: [INT. FBI - MISSING PERSONS UNIT - DAY] (SAMANTHA'S phone rings. She answers it.) SAMANTHA: It's Martin. Hello. INTERCUT WITH: [FORT DIX] MARTIN: William's gone. Base adjutant says he released him to police custody. SAMANTHA: When? MARTIN: 20 minutes ago. SAMANTHA: Okay. CUT TO: SCENE #32: [INT. FBI - JACK'S OFFICE -- DAY] (VIVIAN walks in.) VIVIAN: I just talked to internal affairs. They've been after Ellis for years. They had to let him go on a brutality charge in March on a technicality. JACK: There's a shock. I've been talking to the captain of the 43rd precinct for the last half hour. Ellis has taken a personal day. They can't find him anywhere. CUT TO: SCENE #33: [INT. FBI - MISSING PERSONS UNIT -- DAY] (DANNY points to the map.) DANNY: Assuming he left Fort Dix at 5:30 he's got a 55-minute ride into the city. SAMANTHA: Yeah. Let's not forget the throughway traffic. DANNY: Good point. SAMANTHA: Could this guy be crazy enough to execute William on the new jersey turnpike and make it look like he resisted arrest? DANNY: As long as he thinks William will get him his 25 grand back he'll keep him alive. SAMANTHA: Yeah, but we've got the 25 grand in custody. DANNY: Ellis and William don't know that. (SAMANTHA thinks about it.) SAMANTHA: Tasha's. (DANNY nods. They both leave the office.) CUT TO: [EXT. NEW YORK CITY (STOCK) - DAY] SCENE #34: [EXT. GROUP HOME - DAY] (JACK and DANNY drive on their way to TASHA'S group home. Their car (NY license # KZG-0519) siren blaring. They park and exit the car.) JACK: That's Ellis' car. CUT TO: SCENE #35: [INT. GROUP HOME - DAY -- CONTINUOUS] (The door opens and DET. FRANK ELLIS pushes WILLIAM HOPE through. He pulls WILLIAM HOPE with him.) CUT TO: (DANNY and JACK open a room door.) JACK: It's clear. Let's go. (DANNY and JACK exit the room and check the hallway. They head to the next bedroom door. They open it to find it empty. They head out.) CUT TO: SCENE #36: [EXT. GROUP HOME - DAY -- CONTINUOUS] (The outside door opens. DET. ELLIS pushes WILLIAM HOPE through it and on down the stairs.) (JACK rushes out the door. He yells out.) JACK: Ellis, freeze! (DET. FRANK ELLIS turns around and aims his weapon. But JACK is ready for him. He fires and hits DET. ELLIS square in the chest. DET. ELLIS falls backward and bumps WILLIAM HOPE down the stairs.) (As he goes down, DET. ELLIS fires his weapon in the general vicinity where JACK is. The door opens and DANNY takes aim with his weapon and fires.) DANNY: No! (The second bullet hits DET. ELLIS square in the chest. He slumps back against the wall.) (JACK descends the stairs. DANNY puts his weapon away and checks on WILLIAM.) DANNY: William! William! William? (WILLIAM wakes up and tries to get up.) DANNY: Will, stay down. Stay down. (on phone) We need an ambulance. (JACK checks DET. ELLIS' pulse.) JACK: This one's gone. (JACK descends the stairs. DANNY pushes WILLIAM back down when he tries to get up.) DANNY: Stay down. WILLIAM HOPE: Yeah. DANNY: You're going to be all right. (DANNY looks up at JACK and smiles.) CUT TO: SCENE #37: [EXT. GROUP HOME -- DAY] (POLLY and TASHA rush around to the back of the Emergency Vehicle to check on her brother.) WILLIAM HOPE: Tash. TASHA HOPE: William, are you okay? WILLIAM HOPE: I'm going to be okay. They just got to check me out. (They hug.) POLLY: I don't know what your friend Agent Spade said to him but my boss is getting hammered. They said Tash can move in with the Rays. DANNY: (nods) Glad it worked out. POLLY: Thank you, Danny, for everything. (DANNY doesn't say anything. POLLY watches him, then gets an idea.) POLLY: Do you have any plans for the holiday? DANNY: Nothing special. POLLY: 'Cause I'm just thinking that if you're solo, I'm going to be spending it with my family. My sister's kids are kind of obnoxious but my mom's a great cook. I know it's not much in the way of repayment ... DANNY: No, it sounds really great. (JACK stands over by WILLIAM and TASHA.) POLLY: I got to go. (She leans up and kisses his cheek.) Call me tomorrow, okay? (POLLY walks away. DANNY turns around.) FADE TO BLACK. ======================== THE END ======================== [Captioning sponsored by CBS and Warner Bros. Television Captioned by Media Access Group at WGBH access.Wgbh.Org] For corrections / inaccuracies, please contact the Transcriptionist at (intrepidly002@yahoo.com) Courtesy of http://www.webphilia.com/~anthology/wnp.html Please do not archive without permission. ======================== BEGINNING/TITLE CREDITS ======================== WITHOUT A TRACE 1X08: LITTLE BIG MAN ORIGINAL AIR DATE ON CBS: 11/14/2002 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 DEMPSEY PAPPION as William Hope DENISE DOWSE as Mrs. Ray JOHN LAFAYETTE as Mr. Mike Ray ROBERT CICCHINI KIM PHODES as Polly M. NEKO PARHAM FREDA FOH SHEN 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 JACOB EPSTEIN 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: DAVID J. SIEGEL, A.C.E. Music by: PETER MANNING ROBINSON Theme by JOHNNY KLIMEK and REINHOLD HEIL Unit Production Manager: SCOTT MAITLAND First Assistant Director: KEN COLLINS Second Assistant Director: KRISTIN KILLEY Casting by: GARRY M. ZUCKERBROD, C.S.A. Casting by RONNA KRESS, C.S.A. and TRACY KAPLAN, C.S.A. Guest Starring SEAN ALLEN RECTOR as Radio BRANDY RAINEY as Tasha JON CURRY as Ellis MARCUS ANDREWS as Keith Reid MANNY SUAREZ as Bradley Travis MONTY FREEMAN as Butchie KEVIN MUKHERJI as Mishra Technical Advisor: MARK LLEWELLYN Set Decorator: JEANNIE GUNN, S.D.S.A. Property Master: JOHN HARRINGTON Costume Designer: ALEX FREIDBERG Costume Supervisor: SUE BUB Make-up Artist: TINA ROESLER KERWIN Hairstylist: STEPHEN A. ELSBREE Production Sound Mixer: JAY PATTERSON, C.A.S. A Camera Operator: DAVID PARRISH B Cam/Steadicam Operator: PAUL SOMMERS Supervising Sound Editor: VICTOR IORILLO Music Supervisor: JASON ALEXANDER Music Editor: MELISSA FERGUSON Re-recording Mixers: YURI REESE / BILL SMITH Film Processing by FOTOKEM Main Title Design by SKIP FILM Visual Effects by ASYLUM cbs.com FBI Technical Advisors: DENNIS BONELLI / JENNIFER A. BLEIER The producers wish to thank the New York office of the FBI for their help and cooperation. The characters and events depicted in this motion picture are fictional. Any similarity to any actual person, living or dead, or to any actual events, firms, and institutions or other entities, is coincidental and unintentional. This motion picture is protected under the Laws of the United States and other countries, and its unauthorized duplication, distribution or exhibition may result in civil liability and criminal prosecution. Copyright 2002 Warner Bros. Television. All Rights Reserved Country of first publication United States of America Warner Bros. Television is the author of this film/motion picture for the purpose of Article 15 (2) of the Berne Convention and all national laws giving effect therein. Dated:03/21/2003~lky http://www.webphilia.com/~anthology/wnp.html