WITHOUT A TRACE 1X01: PILOT ORIGINAL AIR DATE ON CBS: 09/26/2002 TRANSCRIBED FROM CBS Written by HANK STEINBERG Directed by DAVID NUTTER Transcript by Intrepid Courtesy of http://www.webphilia.com/~anthology (Zenith Brings you HDTV) [Captioning sponsored by CBS and Warner Bros. Television] Please do not archive without permission. RATING: TV-PG-DV ========================== 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 painstakingly made this transcript possible for your enjoyment and provide a link back to the site where this file originated http://www.webphilia.com/~anthology For corrections / inaccuracies, please contact the Transcriptionist at (intrepidly002@yahoo.com) ========================== SUMMARY: The team is called in to investigate the disappearance of a Marketing Executive. A new member joins the FBI'S Missing Person's Unit. ========================== WITHOUT A TRACE 1X01: PILOT ========================== FADE IN. [EXT. NEW YORK CITY (STOCK) - NIGHT] (A siren wails in distance.) CUT TO: [VARIOUS (STOCK) VIEWS OF NEW YORK CITY - NIGHT] [CLOSED-CAPTIONED LYRICS (UNSUNG): ("In The End", by Linkin' Park) [ It starts with one / (one thing) I don't know why / it doesn't even matter how hard you try / keep that in mind / I designed this rhyme / to explain in due time / all I know / (All I know) / time is a valuable thing / watch it fly by as the pendulum swings / watch it count down to the end of the day / the clock ticks life away / Its so unreal / (It's so unreal) / I didn't look out below / watch the time go right out the window / trying to hold on, but you didn't even know / how I wasted it all just to watch you go / (Watch you go) / I kept everything inside / and even though I tried, it all fell apart / what it meant to me will eventually be a memory / of a time when (I tried so hard) / I tried so hard / and got so far / but in the end it doesn't even matter ... ] CUT TO: SCENE #01: [EXT. NEW YORK CITY SIDEWALK - NIGHT] (A blond-haired woman in leather jacket walks out into the side walk. She stops and turns around as a dark-haired man catches up to her and puts a hand on her arm to stop her.) (They stand there in the sidewalk as people pass them by. The dark-haired man holds out both his hands in an appealing gesture and takes a couple of steps forward. The blond-haired woman takes a couple of steps back. They stand there a moment. Although they're talking, we can't hear what they're saying.) (The man takes a couple of steps forward and the woman walks away from him. She is crying as she walks out of frame.) CUT TO: SCENE #02: [INT. NEW YORK CITY APARTMENT BUILDING LOBBY - NIGHT - CONTINUOUS] (Security Video Camera POV in black and white. The time stamp on the bottom right corner reads: TUES PM 10:47:19. The same blond-haired woman rounds the corner and pushes the door entrance button.) (A man's hand reaches above the security monitor. The camera refocuses and MAGGIE CARTWRIGHT enters the building through the glass double doors.) JACK MALONE: (v.o.) Her name is Maggie Cartwright. She's a Marketing Executive, 28, single, Caucasian. The doorman places her going through the door at 10:45 Tuesday night. (MAGGIE CARTWRIGHT passes the front security desk. CHICO, the Doorman, is sitting behind the desk. He turns his head and watches her walk by. MAGGIE CARTWRIGHT walks non-stop into the open elevator doors.) JACK MALONE: (v.o.) She didn't show up for work the next day. She didn't call anybody to let them know where she might be going. She's been missing for 34 hours. This was the last place she was seen. (The elevator bell dings and the doors close. MAGGIE CARTWRIGHT fades away and disappears completely from view.) (Camera holds on the closed elevator door.) CUT TO: SCENE #03: [INT. APARTMENT BUILDING - FLOOR - DAY] (The elevator bell rings and the doors open. JACK MALONE and the team walk out of the elevator. JACK MALONE holds his hand out in welcome to the Detective waiting by the elevator door for them.) JACK MALONE: Hey, Frankie. How you doing? (JACK MALONE and DET. FRANKIE shake hands. The Det. turns and walks down the hallway to MAGGIE CARTWRIGHT'S apartment. They follow him.) FRANKIE: Ah, bum knee, too much alimony. Other than that, I'm peachy. JACK MALONE: Let's see what we got here. CUT TO: SCENE #04: [INT. MAGGIE CARTWRIGHT'S APARTMENT - DAY -- CONTINUOUS] (The front door opens. The detective walks into the apartment followed by JACK MALONE, VIVIAN JOHNSON, SAMANTHA SPADE and DANNY TAYLOR.) FRANKIE: No forced entry. The door was left unlocked. All the lights on, the radio on. Nothing stolen, as far as we can tell. No sign of a struggle, no bags packed, toiletries still here, passport in the desk ... (As the detective fills them in, JACK MALONE continues to walk further into the room. Through JACK MALONE'S eyes, the room comes alive as it may have been the night MAGGIE CARTWRIGHT disappeared.) FRANKIE: . (o.s.) ... Keys, cell phone, purse, palm pilot, all left behind. No evidence whatsoever that she was leaving. A little bit after 11:00, she calls her mom ... (JACK MALONE turns his head and envisions MAGGIE CARTWRIGHT walking out of nowhere and appearing with a hand-held phone tucked under her ear. MAGGIE CARTWRIGHT picks up the mail and sits down on the couch while continually talking on the phone. JACK MALONE takes a couple of steps and leans in closer to his vision of MAGGIE CARTWRIGHT.) FRANKIE: (o.s.) ... Typical mother-daughter stuff. Apparently they spoke almost every day. Needless to say the mother's pretty wound up about all this. Maggie's her only child and she's thinking the worst. Anyway, they spoke for a few minutes. She finishes her call and after that, vanished. (As the detective finishes, MAGGIE CARTWRIGHT also vanishes in front of JACK MALONE'S eyes. He looks up.) SAMANTHA SPADE: Who called it in? FRANKIE: Her boss, uh, about 5:00 yesterday afternoon. She didn't come to work, he got concerned. VIVIAN JOHNSON: You canvass the neighborhood? (VIVIAN JOHNSON takes out a notepad and pen. SAMANTHA SPADE looks at the side- table with MAGGIE CARTWRIGHT'S car keys, cell phone and palm pilot.) FRANKIE: (o.s.) Cursory stuff, and nothing from the other tenants. We checked the hospitals, psych wards, morgues. No Maggie Cartwrights, and no "Jane Does." (JACK MALONE walks along the bookshelf. He's muttering to himself. DANNY TAYLOR trails behind him looking at the same bookshelf.) JACK MALONE: (murmuring) Maggie, Maggie, come on, come on. Give me something, give me something. (JACK MALONE picks up a book on the shelf.) JACK MALONE: "Karma and Reincarnation." (He flips the pages open and it falls to a page with the following in yellow highlight.) JACK MALONE: (reading) "Though his past works, he shall return once more to birth entering whatever form his heart is set on." (Note: Quote from Brihadaranyaka Upanishad.) DANNY TAYLOR: 1996. A little backpacking after college? (Camera close up of the stream of Fodor Travel Series books on her shelf. Books appear in the following order for Italy, Australia, London, Spain, Rome, Barcelona to Bilbao, Great Britain. etc.) JACK MALONE: There's no India or Tibet. So where does the Hindu kick come from? (JACK MALONE puts the book he's holding back on the shelf.) CUT TO: (SAMANTHA SPADE stands in front of a framed photograph of MAGGIE CARTWRIGHT standing next to a man with the snow-covered mountains behind her. She stares at the photo while the conversation goes on around her.) VIVIAN JOHNSON: (o.s.) Her computer's not here. FRANKIE: It's at her office. (SAMANTHA SPADE continues to look at the picture. Camera holds on a close up of the missing MAGGIE CARTWRIGHT.) CUT TO: SCENE #05: [INT. FBI -- MISSING PERSONS UNIT - DAY] (Camera close up on the white board that has "MAGGIE CARTWRIGHT" in big black letters. Printed smaller in red underneath is: "FILE: 7A NY 486211". Someone adds a photo of MAGGIE CARTWRIGHT to the white board.) LEGEND: FBI MISSING PERSONS UNIT MANHATTAN LEGEND: 37 HOURS MISSING (The camera follows JACK MALONE as he rapidly walks through the office. He's carrying a file folder tucked under his arm. He stops directly in front of the WHITE BOARD that contains the Missing Person's Case Name, Photo and Timeline. He looks at the timeline for a moment, then turns around to address his team.) JACK MALONE: Okay. Maggie Cartwright. SAMANTHA SPADE: Born and raised in Westchester. Graduated Duke University in 1995. She worked the last three years at Sebol Publishing. V.P. Of Marketing. No criminal record, no history of mental illness. JACK MALONE: Family? SAMANTHA SPADE: Mother Nancy, Father Paul. Divorced 1982. Paul's still single and lives in alphabet city. Nancy remarried Lawrence Highsmith. They live in Scarsdale. (As SAMANTHA SPADE talks, in the background, a man walks into the hallway and turns to look at the unit. He starts walking toward the unit. JACK MALONE continues with the meeting.) JACK MALONE: Viv? (The man walks into the room, pauses by the doorway and nods at JACK MALONE.) VIVIAN JOHNSON: Since she disappeared, no credit card charges, no AmTrak, Greyhound, car rental, or airline activity. I'm moving on her bank records and brokerage accounts. (JACK MALONE holds up his finger as he sees MARTIN FITZGERALD. He doesn't want to be interrupted yet.) JACK MALONE: Great. Danny? (From the back of the room, DANNY TAYLOR walks up to JACK MALONE.) DANNY TAYLOR: Night doorman's got a record. Five years for dealing coke. (DANNY TAYLOR shows JACK MALONE a photograph of the doorman and hands it to him.) JACK MALONE: Run it down. How'd you do with her phones? (DANNY TAYLOR moves past JACK MALONE and goes to the white board where he points out the following.) WHITE BOARD TIMELINE: 11:02 - Calls mother 11:48 - Calls Tom Wilkins DANNY TAYLOR: 11:02, she called her mom from home, six-minute call. 11:48, she placed a call to a Tom Wilkins. Thirty-two second call. We have not located him yet. SAMANTHA SPADE: Thirty-two seconds-could be a message. JACK MALONE: Let's get a complete package on this guy. If he was the last person she called, then he's the first person we need to talk to. How about the security tape? (DANNY TAYLOR moves to the VCR and starts it. The video security camera time stamp reads: "TUES PM 10:47:20". It's the same footage we saw at the beginning of the teaser.) DANNY TAYLOR: 10:47 confirms the doorman's story. Can't tell much else. (SAMANTHA SPADE hops off the table she was sitting on and moves toward the WHITE BOARD TIMELINE. She points out the following: 6:34 pm - Train to Scarsdale 7:25 pm - Arrive @ Mother's House 8:15 pm - Departs Mother's 8:30 pm - Train to NYC 9:15 pm - Arrive Penn Station ) SAMANTHA SPADE: She left work at about 6:00 and took a train out to her mother's place in Scarsdale. Hung out there for about an hour, then hopped an 8:30 back to the city. We found a ticket stub in her apartment. She got into Penn Station at 9:15, but didn't make it back to her apartment for an hour and a half. No one knows where she was ... (SAMANTHA taps the board in the empty space in the Timeline.) SAMANTHA SPADE: ... right here. May not mean anything ... JACK MALONE: ... but it could mean everything. SAMANTHA SPADE: Yep. (JACK MALONE turns to MARTIN FITZGERALD standing by the door and walks toward him.) JACK MALONE: All right, as you all know, we have a new member of the team joining us today -- Martin Fitzgerald. Let's make sure we give him the frosty welcome that all rookies deserve. (MARTIN FITZGERALD smiles at the comment. Without a break, JACK MALONE continues and introduces the rest of the team.) JACK MALONE: This is Vivian Johnson, Samantha Spade ... Danny Taylor. Okay, the clock's ticking. Let's get out there. (JACK MALONE turns to leave the room. MARTIN FITZGERALD follows him out. VIVIAN JOHNSON also leaves the room. DANNY TAYLOR and SAMANTHA SPADE are the last to leave the table.) DANNY TAYLOR: (to SAMANTHA SPADE) Two years working white-collar in Seattle and he gets this assignment? SAMANTHA SPADE: Doesn't hurt to be Victor Fitzgerald's kid. DANNY TAYLOR: Mmm. No wonder he's smiling. SAMANTHA SPADE: Not a bad smile, either. (SAMANTHA SPADE walks out of camera frame. DANNY TAYLOR turns around to look at her just as he hears her parting comment.) CUT TO: SCENE #06: [INT. FBI - STAIRWELL TO LOBBY - DAY - CONTINUOUS] (JACK MALONE and MARTIN FITZGERALD walk down the stairs to the lobby.) JACK MALONE: (o.s.) I was surprised that your father didn't call me about you. MARTIN FITZGERALD: I asked him to stay out of it. I don't want any preferential treatment. JACK MALONE: Good, 'cause you're not getting any. MARTIN FITZGERALD: So, where do we start? JACK MALONE: Right now, we don't know if she's been kidnapped or murdered, or killed herself or run off to Rio with a dermatologist. We've got to work from the inside out. Once we find out who she is, odds are we'll find out where she is. ... CUT TO: [EXT. NEW YORK CITY (STOCK) - DAY] JACK MALONE: (v.o.) ... In most cases, after 48 hours, they're gone. CUT TO: SCENE #07: [INT. LOCAL NEIGHBORHOOD SPORTS TRAINING FACILITY -BOXING RING -- DAY] LEGEND: 38 HOURS MISSING (DANNY TAYLOR is questioning CHICO, the doorman for MAGGIE CARTWRIGHT'S building. CHICO is standing in the boxing practice ring in practice gear, which he is removing. DANNY is standing outside the ring.) DANNY TAYLOR: You know, you were the last one to see her that night. CHICO: That's a trip, man. It's a crazy city. DANNY TAYLOR: How'd she seem to you? (CHICO takes a drink from his water bottle. He turns to look at DANNY TAYLOR.) CHICO: Same as always. I don't pay too much attention. (CHICO leaves the ring. DANNY TAYLOR follows him.) DANNY TAYLOR: She ever bring guys home with her? CHICO: Nah. I never seen nothin'. (CHICO grabs his towel and sits down.) DANNY TAYLOR: How long you work there? CHICO: About a year. DANNY TAYLOR: A year, huh? She never brought anybody home? Not even once? (CHICO hesitates and looks away. DANNY TAYLOR leans into CHICO'S face and says quietly.) DANNY TAYLOR: Look, Chico, I'm not here to mess with you, but whatever you got on that girl I need it. (Camera holds on the Doorman.) CUT TO: [WHITE BOARD TIMELINE: "2:30 TO 5:00 PM - PRESENTATION AT SEBOL"] CUT TO: SCENE #08: [INT. SEBOL PUBLISHING - DAY] RICARDO: Like I told the police we had a meeting that day between 2:30 and 5:00. That's the last time I saw her. JACK MALONE: And how did she seem to you? RICARDO: Composed, as always. She was magnificent in that meeting. A real fireball. Probably the strongest presentation she ever gave. (From JACK MALONE'S POV, A Quick Flashback to MAGGIE CARTWRIGHT giving the presentation across the room.) MAGGIE: ... Very nicely. Thank you. MAN IN THE AUDIENCE: You did a great job. (Resume to JACK MALONE envisioning the presentation.) RICARDO: (o.s.) She is a tireless worker. Not only ambitious, she's charming, she's beautiful ... she has it all. (JACK MALONE takes a couple of steps forward in the direction of the presentation. His eyes never leaving that side of the room as he visualizes MAGGIE CARTWRIGHT at her presentation.) (Quick flashback to the presentation and to MAGGIE CARTWRIGHT smiling and shaking hands with a male audience member congratulating her. She says a few words to him, then he leaves. She shakes the hands of several other presentation participants. She smiles and nods her head.) RICARDO: (o.s.) They were going to come back the next day with the CEO. Maggie worked incredibly hard on that account. When she didn't show up, I knew something was wrong. (MAGGIE CARTWRIGHT vanishes. End of flashback. Resume to JACK MALONE.) JACK MALONE: How are her relationships within the company? RICARDO: Oh. Everybody respects Maggie. I'm about to promote her to President of Marketing. (RICARDO moves from his position in the back of the room and walks in front of JACK MALONE.) JACK MALONE: She involved with anyone here? RICARDO: What, you mean romantically? JACK MALONE: Mm-hmm. RICARDO: No. Maggie's too smart to do anything like that. JACK MALONE: Did she ever mention a Tom Wilkins? RICARDO: No. Not to me. We have a very professional relationship and she likes to keep her personal life personal. (MARTIN FITZGERALD reacts to that statement. He smiles a bit and looks down. JACK MALONE doesn't take his eyes off of RICARDO. He nods his head.) JACK MALONE: Thank you for now. RICARDO: Oh. All right. (RICHARDO looks at MARTIN FITZGERALD and smiles a bit. He leaves the room.) (MARTIN FITZGERALD clears his throat. He turns and looks at JACK MALONE.) MARTIN FITZGERALD: I think he's sleeping with her. The way he talks about her and she's climbing that corporate ladder pretty quick. JACK MALONE: He may be in love with her, but he's not sleeping with her. Never even thought about it. (MARTIN FITZGERALD looks quizzically at JACK MALONE.) JACK MALONE: He's gay. MARTIN FITZGERALD: What, because he called her a "fireball"? JACK MALONE: No ... 'cause he was checking you out. (JACK MALONE walks away leaving MARTIN FITZGERALD with a stunned look on his face. MARTIN thinks about it for a moment, then turns to follow JACK.) CUT TO: [EXT. SCARSDALE - NANCY HIGHSMITH'S RESIDENCE -- DAY] LEGEND: 39 HOURS MISSING SAMANTHA SPADE: (v.o.) Let's just start from the beginning, okay? SCENE #09: [INT. NANCY HIGHSMITH'S RESIDENCE -- DAY] (SAMANTHA SPADE sits at the table with NANCY HIGHSMITH.) SAMANTHA SPADE: Why did Maggie come out here that night? NANCY HIGHSMITH: Well, as you can see, I'm in the process of redecorating and I'd been bugging her for weeks to help me with some of the patterns. (Quick flashback to that night when MAGGIE CARTWRIGHT visited her mother's.) NANCY HIGHSMITH: (v.o.) Then, out of the blue, she showed up. (NANCY HIGHSMITH is standing in her living room looking at the windows. MAGGIE CARTWRIGHT is in the back looking at something.) NANCY HIGHSMITH: I think I'd like florals in the living room. But then I don't know what I'd do with the drapes. Maggie? (NANCY HIGHSMITH turns to look at MAGGIE CARTWRIGHT who is distracted by a framed photograph she's holding. She looks up when she hears her name and automatically responds.) MAGGIE CARTWRIGHT: That sounds good. NANCY HIGHSMITH: You know, if you're not interested, you didn't have to come all the way out here. MAGGIE CARTWRIGHT: Mom ... NANCY HIGHSMITH: I know this is nonsense to you. (NANCY HIGHSMITH sits down. MAGGIE CARTWRIGHT puts the frame back on the desk. She takes a few steps toward her mother and kneels down onto the seat between them.) MAGGIE CARTWRIGHT: It's just that we've been over this so many times. I thought we'd figured it out already. NANCY HIGHSMITH: I know, but I saw these colors and I thought they were nice, and I ... I know how you feel about ... (NANCY HIGHSMITH pulls out a cigarette and lights it. MAGGIE CARTWRIGHT looks dismayed.) MAGGIE CARTWRIGHT: I thought you were on the patch! NANCY HIGHSMITH: I am. Doesn't work. MAGGIE CARTWRIGHT: You can't smoke on the patch, mother. NANCY HIGHSMITH: So, what do you care? I haven't even seen you in three weeks. MAGGIE CARTWRIGHT: I've had a lot on my plate. NANCY HIGHSMITH: I'm not some tidbit on a buffet table. MAGGIE CARTWRIGHT: All right. I'm sorry, mom, okay? Will you just show me the samples, please? (Flash to white. End of flashback. Resume to present on NANCY HIGHSMITH standing next to the window. She turns around to look at SAMANTHA SPADE.) NANCY HIGHSMITH: We didn't make any decisions, and then she said she had to get back to the city. SAMANTHA SPADE: And as far as you know, she was headed straight home? NANCY HIGHSMITH: She said she had to prepare for a big meeting the next day. At least that's what she told me. (NANCY HIGHSMITH takes a seat at the table.) SAMANTHA SPADE: Why did she call you that night? NANCY HIGHSMITH: Oh, she said she ... she just wanted ... ...to tell me that ... I should go with butterscotch ... for the drapes. (SAMANTHA SPADE smiles gently.) CUT TO: SCENE #10: [INT. SEBOL PUBLISHING - MAGGIE CARTWRIGHT'S OFFICE -- DAY] (JACK MALONE walks around the office getting a feel for it.) JACK MALONE: No personal touches. She didn't want to bring herself in here. (MARTIN FITZGERALD is sitting at MAGGIE CARTWRIGHT'S desk and is working on her computer laptop. The computer beeps.) MARTIN FITZGERALD: Okay, the tracer's kicking in. (The camera focuses on the following computer screens: Screen 1: NAME: MAGGIE PASSWORD: Screen 2: ACCESS LOG IN Screen 3: TERMINAL WINDOW ENTER ROOT PASSWORD: N E P A L ) (One by one, the letters reveal MAGGIE CARTWRIGHT'S password.) (In the back of the room, JACK MALONE picks up a framed photograph of MAGGIE CARTWRIGHT with TOM WILKINS. The computer beeps.) MARTIN FITZGERALD: We're in. JACK MALONE: Everybody's skeptical of you white-collar guys. (JACK MALONE looks up, impressed. He walks toward the desk. He's still holding the framed photograph.) MARTIN FITZGERALD: (dryly) Yeah, I've noticed. JACK MALONE: What's her password? MARTIN FITZGERALD: Nepal. Think it means something? JACK MALONE: What's your password? (MARTIN FITZGERALD smiles as he looks up at JACK MALONE. He gets the point.) JACK MALONE: See. (JACK MALONE'S cell phone rings. He answers it.) JACK MALONE: (to phone) Danny boy. INTERCUT WITH: [INT. LOCAL NEIGHBORHOOD SPORTS TRAINING FACILITY -- BOXING RING -- DAY] (DANNY TAYLOR is standing just outside the boxing ring.) DANNY TAYLOR: (to phone) Doorman says Maggie used to bring home this guy. Doesn't know his name but he thinks it's somebody she works with. (Cut to JACK MALONE listening on the phone.) DANNY TAYLOR: (from phone) Now get this. The night after she disappeared, (Cut back to DANNY TAYLOR at the training facility.) DANNY TAYLOR: (to phone) same guy shows up and slips Chico a couple of "C" notes to say he was never there. (Cut to JACK MALONE in the office.) JACK MALONE: Guess a couple "C" notes doesn't buy you what it used to. (JACK looks at the framed photograph he's holding.) JACK MALONE: Listen, was this guy a brunette with a goatee? DANNY TAYLOR: No, blond, about six-one ... JACK MALONE: Okay, listen, call Samantha. Have her contact the family. See if they have any insight into this. DANNY TAYLOR: Okay. (He hangs up.) JACK MALONE: Maggie wasn't as smart as Ricardo says. She was fooling around with somebody here. MARTIN FITZGERALD: Well, we've got her e-mails. CUT TO: WHITEBOARD on "TOM WILKINS" SCENE #11: [INT. FBI - MISSING PERSONS UNIT - DAY] (Back at the FBI office, VIVIAN JOHNSON walks across the room. She's on the telephone, wearing a headset and is holding a file folder.) VIVIAN JOHNSON: (to headset) His name is Tom Wilkins. He arrived at Heathrow last night on Flight 43 and checked into Claridge's. (pause) Yes, yes, we need a complete interview. (She takes a seat at her desk.) VIVIAN JOHNSON: (to headset) I don't care what time it is in London. Right now, he's our only suspect in a potential kidnapping. (pause) Yeah. Yes. Thanks. Cheerio. (She reaches over the desk and hangs up the phone.) CUT TO: SCENE #12: [INT. SOBEL PUBLISHING - MAGGIE CARTWRIGHT'S OFFICE -- DAY] (Camera close up of a list of e-mail messages from MAGGIE CARTWRIGHT'S laptop.) JACK MALONE: What's her next e-mail? (The list clears and the screen changes.) MARTIN FITZGERALD: This one was sent to Brian Daugherty 1:45 P.M. Tuesday. That was the day she disappeared. MARTIN FITZGERALD: "Brian, I really appreciated your honesty this morning. It certainly help clarify my position on that account. As ever, Maggie Mae." MARTIN FITZGERALD: All right. Next one was sent to, uh ... JACK MALONE: Read that back to me one sentence at a time. MARTIN FITZGERALD: "Brian, I really appreciated your honesty this morning." JACK MALONE: Honesty. Intimate. MARTIN FITZGERALD: "Certainly helped clarify my position on that account." JACK MALONE: Very stiff, formal. MARTIN FITZGERALD: "As ever, Maggie Mae." JACK MALONE: That's very intimate. Doesn't fit. MARTIN FITZGERALD: What's the "account", then? (JACK MALONE turns around to face MARTIN who sits behind the desk.) JACK MALONE: "Account" is her code for relationship. It's her position in their relationship that just got clarified. This is the guy she's been sleeping with. (JACK MALONE knocks three times on the desk, turns around and heads out of the office.) JACK MALONE: Look alive, Martin. We just found ourselves a viable suspect. (MARTIN FITZGERALD looks up from behind the desk.) FADE TO BLACK. (COMMERCIAL SET) FADE IN. [EXT. NEW YORK CITY (STOCK) - DAY] LEGEND: 41 HOURS MISSING SCENE #13: [INT. SOBEL PUBLISHING - BRIAN DAUGHERTY'S OFFICE -- DAY] JACK MALONE: Brian, it's not like tipping a guy in a restaurant to get a better table. You paid off a witness to lie in a federal investigation. That's obstruction of justice. BRIAN DAUGHERTY: I'm sorry. I panicked. It's just ... my wife and I are trying to have a baby now. If she ever found out that I've been having an affair, she'd be gone in a heartbeat. I swear I cut it off with Maggie months ago. BRIAN DAUGHERTY: I mean, it was just supposed to be a fling. (White flashback to BRIAN DAUGHERTY. He's standing behind his desk talking with MAGGIE CARTWRIGHT the day of her disappearance.) BRIAN DAUGHERTY: I thought you understood that. MAGGIE CARTWRIGHT: That's what you wanted. Have your cake and eat it with whipped cream. (BRIAN moves around his desk and stops in front of MAGGIE.) BRIAN DAUGHERTY: Why is this coming up today, all of a sudden? I thought you'd moved on. MAGGIE CARTWRIGHT: I ... um ... I-I think I may have loved you. BRIAN DAUGHERTY: I am sorry, Maggie but I love my wife. MAGGIE CARTWRIGHT: Then what were you doing with me? BRIAN DAUGHERTY: You give off this vibe, like ... I didn't think you'd get emotional about it. MAGGIE DAUGHERTY: Well, I guess you were wrong. (End of flashback. Resume to present.) BRIAN DAUGHERTY: I saw her later in the hall. She seemed all right. Like nothing ever happened. JACK MALONE: Do you know of anyone that would want to hurt her? BRIAN DAUGHERTY: My god, no. Believe me, if I had any useful information, I'd be knocking down your door. JACK MALONE: So where were you the night she disappeared? BRIAN DAUGHERTY: In Philadelphia, for a conference. (BRIAN looks at MARTIN. JACK MALONE also looks at MARTIN.) CUT TO: [INT. SOBEL PUBLISHING -- HALLWAY OUTSIDE BRIAN DAUGHERTY'S OFFICE - CONTINUOUS] (JACK MALONE and MARTIN FITZGERLAD leave BRIAN DAUGHTERTY'S office.) MARTIN FITZGERALD: You want me to run out his alibi? JACK MALONE: I'm going to give that to Danny. (An FBI Agent interrupts them.) FBI AGENT: Jack, her hard drive was completely reformatted two weeks ago. Except for her recent e-mails her entire internet history's been wiped out. JACK MALONE: Why? FBI AGENT: I don't know, but it was done here. (The FBI Agent leaves.) JACK MALONE: I want you to find out who did it, and why. Then meet me back at the office. (JACK leaves.) CUT TO: [WHITE BOARD TIMELINE: "12:30 TO 1:30 PM - LUNCH WITH FATHER"] CUT TO: SCENE #14: [EXT. NEW YORK CITY (STOCK) - DAY] SAMANTHA SPADE: (v.o.) Your ex-wife has reason to be concerned. We're running out of time. [INT. PAUL CARTWRIGHT'S RESIDENCE - DAY] PAUL CARTWRIGHT: Her mother loves to worry but she probably just took off for a while. I mean, uh, Maggie's very independent. She ... I'm sure she'll be back in a couple of days and we'll be sorry we wasted your time. JACK MALONE: But you can think of no concrete reason why she'd go on a trip. PAUL CARTWRIGHT: Uh, no. SAMANTHA SPADE: You and Maggie had lunch the day she disappeared. Who scheduled that, you or her? PAUL CARTWRIGHT: Her, actually, uh which I was thrilled about. She's usually so busy at work she doesn't have time during the week. SAMANTHA SPADE: And how did she seem to you? PAUL CARTWRIGHT: Same as usual. I mean light ... fun ... full of life. (Quick flashback to the lunch with MAGGIE on the day she disappeared.) PAUL CARTWRIGHT: ... And she's unbelievable in bed. (MAGGIE laughs.) MAGGIE CARTWRIGHT: Well, that's worth something. Sometimes it's worth everything. PAUL CARTWRIGHT: So, how's your love life? MAGGIE CARTWRIGHT: Presently, I'm playing the role of Sister Maggie the Reluctant Nun. PAUL CARTWRIGHT: Who's playing the priest, Brian? MAGGIE CARTWRIGHT: Brian's ... a dud. If he wasn't married, he wouldn't even be interesting. PAUL CARTWRIGHT: You women are all alike. MAGGIE CARTWRIGHT: Or so you'd like to think. PAUL CARTWRIGHT: So, we still on for Saturday night? MAGGIE CARTWRIGHT: Dylan? Of course. PAUL CARTWRIGHT: I made reservations at Carmine's for afterwards. MAGGIE CARTWRIGHT: Yum. You know the way to a girl's heart. (End of flashback. Resume to present.) PAUL CARTWRIGHT: Dylan and Dinner with my Daughter. Has a nice ring to it, don't you think? JACK MALONE: So what do you know about Brian Daugherty? PAUL CARTWRIGHT: Oh ... he was just a fling. I mean, she didn't take him very seriously. Maggie's pretty sophisticated that way. Ah, I don't think Brian would be dangerous to her if that's what you're asking. I mean, she has enough sense not to get involved with anybody like that. SAMANTHA SPADE: How about a Tom Wilkins? You ever hear of him? PAUL CARTWRIGHT: I think she dated a Tom for a couple of weeks ... uh ... about a year ago, maybe. Yeah, I remember now. He was, uh, too straight-laced for her. JACK MALONE: So, you met him? PAUL CARTWRIGHT: No, no, she told me about him. SAMANTHA SPADE: Maggie tells you about all her affairs? PAUL CARTWRIGHT: What, you think that's weird because I'm her dad? Yes, we tell each other everything. CUT TO: SCENE #15: [EXT. PAUL CARTWRIGHT'S PLACE - DAY] (JACK MALONE and SAMANTHA SPADE leave PAUL CARTWRIGHT'S residence. They walk down the stairs to the sidewalk outside.) JACK MALONE: Father knows best. SAMANTHA SPADE: He's barely got a pot to piss in and he's taking his daughter to a $300 dinner on a Saturday night? JACK MALONE: Well, think about it. He abandons her when she's a kid. He doesn't know how to deal with it. Now he wants to be her best friend. It's classic guilt. SAMANTHA SPADE: Is it guilt or romance? You don't go to Carmine's unless it's valentine's day or you're going to propose. JACK MALONE: How would you know? (SAMANTHA SPADE remains silent. JACK MALONE throws her a smile.) JACK MALONE: Look, if there was anything really naughty he'd be hiding it more. SAMANTHA SPADE: He treats her like she's his mistress. JACK MALONE: Yeah, and she goes along with it, doesn't she? She's a role player. Everyone we talk to, we see a different Maggie. CUT TO: [EXT. NEW YORK CITY (STOCK) - DAY] LEGEND: 44 HOURS MISSING SCENE #16: BARTHOLOMEW HIGGINS: (v.o.) Yeah, she called down to tech support. [INT. SOBEL PUBLISHING - TECH SUPPORT -- DAY] BARTHOLOMEW HIGGINS: She said she was having all kinds of problems with her computer. It freezing on her all the time, losing files, you know. Trouble with internal e-mails. MARTIN FITZGERALD: So she asked you to reformat her entire hard drive? BARTHOLOMEW HIGGINS: Well, I told her I could just run a couple of systems checks but she, uh, really wanted me to clean the whole thing out. You know, she was pretty specific about what she wanted done. MARTIN FITZGERALD: And nothing stuck out to you as suspicious in her e-mails or files? No interoffice romance or anything like that? BARTHOLOMEW HIGGINS: No, nothing like that. MARTIN FITZGERALD: Oh. Does the name Tom Wilkins ring a bell? BARTHOLOMEW HIGGINS: No. Does he work at the company? CUT TO: SCENE #17: [INT. FBI MISSING PERSONS UNIT -- DAY] (VIVIAN JOHNSON hands JACK MALONE a large colored photograph head shot of TOM WILKINS.) VIVIAN JOHNSON: Tom Wilkins. He's a tax attorney at Dobbs and McGlincy. 41 years old, divorced, no kids. Two convictions for DUI in '94. Since then, he's clean. JACK MALONE: And he left for London yesterday morning. VIVIAN JOHNSON: On business. He's due back next week. JACK MALONE: Legat London got a lead on him? VIVIAN JOHNSON: They do now. I had to read them the riot act to get them to put down their fish and chips. (JACK stands up. He and VIVIAN walk over to the Whiteboard where JACK compares the photo of TOM WILKINS in his hand to the enlarged photo on the Whiteboard. It's the same person in the two photos.) JACK MALONE: This was the only picture she had in her office. VIVIAN JOHNSON: Guess Tom was not just some fling she had a year ago. JACK MALONE: Anything on Brian Daugherty? VIVIAN JOHNSON: Danny ran down the alibi. He was in Philly. (VIVIAN hands JACK a piece of paper. JACK looks down at it. He turns around and walks over to MARTIN sitting at the conference table. Behind them, SAMANTHA is standing in front of the Whiteboard Timeline.) JACK MALONE: What'd the technician say about Maggie's computer? MARTIN FITZGERALD: She specifically asked him to clean it out. Sounds to me like she was trying to hide something. JACK MALONE: Sam? You in a trance? (SAMANTHA turns around.) SAMANTHA SPADE: We still don't know where she was between 9:15 and 10:47. (Behind them, from the back of the room DANNY TAYLOR claps his hands in triumph. He turns around from the monitor he's looking at and manages to attract everyone's attention.) DANNY TAYLOR: I got something. (JACK and the others head for DANNY.) DANNY TAYLOR: It's the footage from the security camera in Maggie's alley. Look a that. That could definitely be her. (The monitor shows a blonde-haired woman carrying a backpack and exiting the back door.) SAMANTHA SPADE: Is that a backpack? JACK MALONE: Zoom in. (The computer beeps and the screen grids and re-focuses on the blonde-haired woman.) JACK MALONE: Tighter. (Again, the computer beeps and the screen again grids and re-focuses closer on the blonde-haired woman with her back to the security camera. She's carrying a back pack with an emblem on it. SAMANTHA holds up an enlarged photograph of MAGGIE and a friend in the mountains. She's holding up the same backpack with the emblem facing the camera.) SAMANTHA SPADE: Here we go. MARTIN FITZGERALD: Yin and yang. SAMANTHA SPADE: They match. DANNY TAYLOR: Yes, they do. VIVIAN JOHNSON: What time was that taken? DANNY TAYLOR: 2:32 A.M. VIVIAN JOHNSON: Where's she going? DANNY TAYLOR: Maybe it's a booty call. SAMANTHA SPADE: Your mind is always in the gutter. There was no call. DANNY TAYLOR: Tom Wilkins, 11:48. MARTIN FITZGERALD: In my experience, there's usually not a three-hour lag between the call and the, uh ... (JACK slowly turns to look at MARTIN who clears his throat. DANNY'S face slowly widens as a grin spreads across his face while he waits for the punchline.) MARTIN FITZGERALD: ... delivery. JACK MALONE: When she first came in that night she didn't have the pack. But there it is. So, what's in it? DANNY TAYLOR: A change of clothes for the next day. SAMANTHA SPADE: She sneaks out of her own apartment without her wallet or her keys. Doesn't make sense. VIVIAN JOHNSON: None of it makes sense. (The camera holds on JACK MALONE. Cut to the security camera view of MAGGIE trotting down the alleyway.) CUT TO: [EXT. NEW YORK CITY (STOCK) - NIGHT] SCENE #18: 4:23 A.M. [INT. FBI MISSING PERSON'S UNIT - EARLY MORNING] (JACK MALONE sits alone at the conference table. The files are open and spread out around him. An open and abandoned carton of Chinese take out is also on the table. JACK rubs the bridge of his nose below his glasses and stifles a yawn. Distant footsteps approaching can be heard.) (The camera angles to show us that SAMANTHA SPADE is walking down the hallway toward the offices and JACK. She stops next to the table and puts a hand on her hip.) SAMANTHA SPADE: Think a fresh change of clothes will make up for a lost night's sleep? (JACK turns to look at her.) JACK MALONE: Well, if I looked as good as you in black, I wouldn't need to change. SAMANTHA SPADE: Jack ... your collar. (SAMANTHA laughs. JACK nods. SAMANTHA moves behind him to fix his collar. JACK takes off his glasses and rubs his tired eyes.) JACK MALONE: You're starting to sound like my wife. SAMANTHA SPADE: You should listen to your wife. JACK MALONE: You do this for Dr. Fred? SAMANTHA SPADE: Sure. JACK MALONE: How is Dr. Fred? SAMANTHA SPADE: Busy and unavailable, just the way I like 'em. (SAMANTHA sits on the desk to the right of JACK. JACK turns to look at the files in front of him and sighs.) JACK MALONE: You know, I keep wondering why she went out the alley door. SAMANTHA SPADE: She's ... hiding. JACK MALONE: Or escaping. (JACK turns and looks at SAMANTHA. She doesn't say anything.) JACK MALONE: What's in the backpack? (JACK looks back at the screen capture of the security camera picture of the blonde-haired woman and backpack in the alleyway. He turns to the next photo, a close up of the same woman, same picture.) JACK MALONE: Personal items, mementos. Things that we wouldn't even notice were missing. Like a teddy bear from her childhood or a necklace from her father, or favorite outfit. SAMANTHA SPADE: You're not thinking suicide. JACK MALONE: You think about all the different roles she played-- she didn't have any real friends. She was an only child. I mean, this was a ... this is a very lonely girl, I think. SAMANTHA SPADE: Yeah, but there's no history of mental illness there's no indication she was depressed ... JACK MALONE: Either way ... it's been 51 hours. (solemnly) We've lost her. (JACK looks up at SAMANTHA who doesn't say anything. JACK'S cell phone rings. He sighs and answers it.) JACK MALONE: Yep? (pause) Where? When? (pause) Okay. (JACK hangs up.) JACK MALONE: We just got a ransom note. And there's proof of life. (The camera holds on JACK MALONE.) CUT TO: SCENE #19: 6:08 AM [INT. HIGHSMITH'S RESIDENCE -- DAY] (Camera close up of a photograph of MAGGIE CARTWRIGHT holding The New York Times newspaper. Her hands are bound and her mouth is taped.) JACK MALONE: (o.s.) Problem is that paying the ransom isn't going to bring us any closer to your daughter. (NANCY HIGHSMITH is sitting on the couch next to her husband. PAUL CARTWRIGHT is standing behind the couch some distance away.) NANCY HIGHSMITH: We'll do whatever you advise us. PAUL CARTWRIGHT: Well, whatever they advise us, they don't even have any leads. I mean, god knows where she is what she's going through. I mean, as far as I'm concerned, we pay now and pray we get her back as soon as we can. NANCY HIGHSMITH: You heard what they said, Paul. Besides, its not your money, anyway. PAUL CARTWRIGHT: Have you, for one moment, ever thought about anything in your life but yourself? NANCY HIGHSMITH: Well, I'm not the one who ran off, am I? JACK MALONE: Enough. The number one priority here is finding your daughter. Let's focus on that. This is not about you. This is about Maggie. The longer we stall the kidnappers the more chance we have of finding her. Agreed? (NANCY HIGHSMITH nods her head. Camera close up of PAUL CARTWRIGHT who mouths the following.) [CLOSED-CAPTION PAUL CARTWRIGHT: It's her money.] CUT TO: SCENE #20: 7:21 AM [INT. FBI - MISSING PERSONS UNIT -- DAY] (Camera close up of the ransom message that reads: Dear Mrs. Highsmith, We have your daughter. She is safe for now. You will be contacted at four fifty-five PM. At that time, you will be given the number of a bank account into which you will wire one million dollars by five PM. If you involve the police or the FBI you will never see Maggie again. (The photo of the ransom message is accompanied by the photo of MAGGIE CARTWRIGHT bound and gagged holding the NY Times paper.) (JACK MALONE is standing in front of the whiteboard. The photo of the ransom e- mail message and of MAGGIE are now up on the whiteboard.) [CLOSED-CAPTIONING (NO SOUND) JACK MALONE: Her mother got the e-mail at 4:22 this morning. It's pretty straightforward. One million dollars ... ] (SOUND RESUMES) JACK MALONE: ... by 5:00 P.M. That gives us less than ten hours. (JACK MALONE turns around and heads back to the conference table where the rest of the team is.) JACK MALONE: What have we got on the ransom note? SAMANTHA SPADE: The e-mail was bounced all over the world. Our computer squad's on it. (SAMANTHA takes a seat at the table.) JACK MALONE: All right. Let's talk theories. (VIVIAN stands next to the board with the photographs of TOM WILKINS up. She turns around and approaches the table where she, too, takes a seat.) VIVIAN JOHNSON: I've got something. In September of last year Maggie started making ATM withdrawals all over the city. $50 a day, then $100. Six months later, she's up to $200 a day. Then all of a sudden, it stops. Her activity goes back to the way it was before. (DANNY TAYLOR, sitting on the desk behind everyone, looks up from the file he's reading and quips ... ) DANNY TAYLOR: Drugs. (VIVIAN turns around to look at him.) VIVIAN JOHNSON: Or blackmail. (DANNY stands.) DANNY TAYLOR: What does a girl like that have to be blackmailed about? Its drugs. She's doing blow. Her doorman's her dealer. He knows that she comes from a lot of cash, so he decides "Okay, I'm going to get rich quick." JACK MALONE: Go see him. (DANNY TAYLOR turns to leave when MARTIN stops him.) MARTIN FITZGERALD: Brian Daugherty. (MARTIN puts a photo of BRIAN DAUGHERTY on the table. He points to it and taps his finger on it to emphasize his point.) MARTIN FITZGERALD: The office boyfriend. We know that Maggie went to see him that morning, right? Well, what if she threatened to tell his wife that they were having an affair? He freaks out, sneaks back from Philadelphia kills her, and then sends the ransom note to throw us off the trail? JACK MALONE: I thought his alibi checked out. DANNY TAYLOR: It did. MARTIN FITZGERALD: He ordered up room service at 10:28, and nobody saw him until the next morning at 9:00. DANNY TAYLOR: Last train out of Philly's at 10:30. We know he didn't rent a car so how did he get back to New York? Did he swim? MARTIN FITZGERALD: There's an 11:15 New Jersey transit to Newark. Transfer there, and you're into New York City by 2:00 A.A.M., Leaving him at least four hours to do what he needed to do and still get back for his eggs benedict. JACK MALONE: Okay. Run it out. SAMANTHA SPADE: Well, there's always Daddy Dearest. This way he gets the money and the girl. JACK MALONE: You have a chip on your shoulder. VIVIAN JOHNSON: In case anyone cares, my money's on Tom Wilkins. JACK MALONE: Then get him back in the country. SAMANTHA SPADE: (to DANNY) Guess he's more than just a pretty face. CUT TO: SCENE #21: 8:40 AM [INT. SOBEL PUBLISHING - BRIAN DAUGHERTY'S OFFICE -- DAY] BRIAN DAUGHERTY: I thought you checked all this out already. MARTIN FITZGERALD: I just want to clarify some things. So, you were at the hotel all night. BRIAN DAUGHERTY: Right. MARTIN FITZGERALD: All by yourself. BRIAN DAUGHERTY: Right. MARTIN FITZGERALD: You didn't order up a movie? BRIAN DAUGHERTY: No. Is that crime? MARTIN FITZGERALD: And you didn't call your wife to say good night? BRIAN DAUGHERTY It was late. She's usually in bed by 10:00. (MARTIN picks up the framed photograph of a woman in a wedding dress. He looks at it.) MARTIN FITZGERALD: Pretty. What's her name? BRIAN DAUGHERTY: Linda. MARTIN FITZGERALD: How long you been married? BRIAN DAUGHERTY: Almost four years. What is this? MARTIN FITZGERALD: It just occurred to me you can't prove you were in the hotel all night. BRIAN DAUGHERTY: And you can't prove that I wasn't. MARTIN FITZGERALD: Oh. I really don't want to have to talk this over with Linda, but I will. BRIAN DAUGHERTY: Talk to her all you want. I already told her everything. Am I under arrest? MARTIN FITZGERALD: Not yet. BRIAN DAUGHERTY: Then I don't have to listen to this. CUT TO: SCENE #22: 9:32 AM [INT. LOCKER ROOM -- DAY] DANNY TAYLOR: You know that lying to a Federal Officer is a felony. It's like perjury, Chico. CHICO: I told you -- I don't do that no more. DANNY TAYLOR: Well, you hold out on me now, I'm going to go sniffing around. And if I find anything, anything at all you're going back to Dannemora. I'm going to make sure of it. Now you come clean with me and I lose your parole officer's phone number. CHICO: Yeah? All right, look. I used to sell to her but, uh, she hadn't gotten anything for a while. Till that night. She came downstairs about 2:15. (Quick flashback to CHICO playing solitaire. Camera close up of cards. CHICO looks up and MAGGIE CARTWRIGHT is standing there. She looks nervous.) MAGGIE CARTWRIGHT: Hey, Chico. Uh, I need some. (MAGGIE puts a folded hundred dollar bill on the table.) CHICO: (v.o.) I gave her a bag and then she went back upstairs. (CHICO takes the bill. Flash to white. End of flashback. Resume to present.) CHICO: I never saw her again, all right? DANNY TAYLOR: You want to take a polygraph? CHICO: Yeah, whatever, man. Bring it on. CUT TO: [WHITE BOARD TIMELINE: -- CALLS MOTHER (6 min) -- CALLS TOM WILKINS (0.52) (in red) 2:15 A.M. - BUYS COKE FROM CHICO (The word "COKE" is circled) 2:32 am LEAVES THROUGH ALLEY] SCENE #23: 11:35 AM [INT. SOBEL PUBLISHING - TECH SUPPORT - DAY] BARTHOLOMEW HIGGINS: You want all the e-mails, huh? From the entire company? Do you know how many there are? MARTIN FITZGERALD: Let's start with Brian Daugherty and see how we do. BARTHOLOMEW HIGGINS: Is Brian a suspect? MARTIN FITZGERALD: Everybody's a suspect. CUT TO: SCENE #24: 12:47 PM [INT. FBI MISSING PERSON'S UNIT - HALLWAY - DAY] VIVIAN JOHNSON: I just got a call from my friend at prudential securities. Turns out, Maggie liquidated all her stocks and bonds eight days ago. That's over $200,000 worth. JACK MALONE: So, she knew she was leaving. VIVIAN JOHNSON: She withdrew five grand in cash and moved the rest into a private account. In London. Where Tom Wilkins happens to be. She and Tom faked her kidnapping. She calls him at 11:48 to confirm, buys a little bit of courage from Chico at 2:15, ducks into the alley, and she's on her way to London. JACK MALONE: Okay, but tell me this why doesn't she take her passport? VIVIAN JOHNSON: We find Tom Wilkins, we'll know the answer. (VIVIAN leaves. The camera holds on the photograph of MAGGIE and TOM WILKINS hanging on the whiteboard.) CUT TO: SCENE #25: [EXT. BASKETBALL COURT NEAR PAUL CARTWRIGHT'S RESIDENCE -- DAY] SAMANTHA SPADE: So, it looks like you were right. She was planning on leaving for a lot more than a couple of days. PAUL CARTWRIGHT: Well, you have no idea how much her mother's made her suffer. How much she suffocates her with all of that ... need. SAMANTHA SPADE: So back at the house, you wanted Nancy to pay because you were afraid Maggie's behind this. (PAUL CARTWRIGHT sighs.) PAUL CARTWRIGHT: Well, if she is, I don't want her to get caught. You're thinking that sounds like a motive. Me, living here in this dump and Nancy with all of that money. You probably think I'm a suspect? SAMANTHA SPADE: We've discovered Maggie had a problem with cocaine. (PAUL CARTWRIGHT sighs.) PAUL CARTWRIGHT: I mean, here I am, sitting here thinking that ... I know her thinking that she tells me everything and I don't have a clue to the first damn thing that's going on with her. CUT TO: SCENE #26: [INT. FBI - MISSING PERSONS UNIT -- DAY] (VIVIAN JOHNSON hangs up the phone.) VIVIAN JOHNSON: Jack. JACK MALONE: What's up? VIVIAN JOHNSON: That was legat London. They found Tom Wilkins this morning. When he heard about Maggie's disappearance he booked himself on the Concord and he's due back in New York at 3:00. CUT TO: [EXT. CONCORD LANDING (STOCK) - DAY] LEGEND: 3:01 PM SCENE #27: [INT -- CONFERENCE ROOM -- DAY] (The door to the room opens and SAMANTHA and JACK walk in. Sitting behind the desk drinking from a cup is the elusive TOM WILKINS. He puts his cup down and looks at them.) FADE TO BLACK. (COMMERCIAL SET) SCENE #28: 3:23 PM [INT. CONFERENCE ROOM -- DAY] JACK MALONE: What were you doing in London? TOM WILKINS: We have a couple of big clients there. I... I go at least once a month. SAMANTHA SPADE: Did you ever take Maggie with you? TOM WILKINS: No. JACK MALONE: Why not? TOM WILKINS: We don't have that kind of relationship. SAMANTHA SPADE: What kind do you have? TOM WILKINS: Uh, we dated a few times. Then we realized we were much better as friends. JACK MALONE: When was the last time you saw her? TOM WILKINS: Tuesday night. JACK MALONE: The night she disappeared? TOM WILKINS: That's what's been driving me crazy. She called me that morning said she wanted to see me. I was leaving for London the next day. I didn't really have time. But she said it was important, so ... (Quick flashback to the night MAGGIE disappeared.) MAGGIE CARTWRIGHT: You know, you know, it's the same old song and dance. Subscription level readership profiles blah, blah, blah. What about you? How's the woman? TOM WILKINS: It's good. (MAGGIE nods and looks away. She looks as if she's about to cry. She takes a sip from her drink.) TOM WILKINS: You okay? MAGGIE CARTWRIGHT: Mm, I'm fine. TOM WILKINS: You're using again. Maggie ... MAGGIE CARTWRIGHT: A little bit. TOM WILKINS: With who? MAGGIE CARTWRIGHT: Someone from work. TOM WILKINS: Did you ever call that therapist I gave you? MAGGIE CARTWRIGHT: Not yet. TOM WILKINS: Why not? MAGGIE CARTWRIGHT: I don't ... don't need you to save me, okay? TOM WILKINS: Then why'd you call? MAGGIE CARTWRIGHT: You know, I haven't seen you in a while, and I ... I just wanted ... TOM WILKINS: What? MAGGIE CARTWRIGHT: Nothing, it's nothing. (She sighs and smiles.) Just forget about it. TOM WILKINS: Maggie. Maggie! (Upset, MAGGIE CARTWRIGHT gets up from the table and leaves. TOM WILKINS follows her out of the building and just as they did in the teaser, the two stop out on the sidewalk.) TOM WILKINS: Maggie ... (TOM WILKINS takes a step toward MAGGIE. MAGGIE takes a step back.) TOM WILKINS: Hey, it's all ... talk to me. MAGGIE CARTWRIGHT: I... I've got to go. (MAGGIE CARTWRIGHT walks away leaving TOM WILKINS standing out on the sidewalk behind her. He watches her leave. She's crying.) (End of flashback. Resume to present.) JACK MALONE: And that's it? You never heard from her again. (JACK MALONE stands and walks around the table toward TOM WILKINS. He's carrying an envelope.) TOM WILKINS: No. JACK MALONE: And you have no idea where she might be. (JACK opens the envelope.) TOM WILKINS: Nope. JACK MALONE: Does this help? (JACK puts the ransom photo of MAGGIE tied and taped on the table in front of TOM WILKINS.) TOM WILKINS: Oh, my god. JACK MALONE: Yeah, it's pretty convenient. She transfers all her money to London. You go there on business, and she disappears. TOM WILKINS: Hey, wait a minute, you don't think I... JACK MALONE: I'll tell you what I think, Tom. You're lying to us. You said you never heard from her again. TOM WILKINS: I didn't. I don't know ... JACK MALONE: She called you. TOM WILKINS: She did not. SAMANTHA SPADE: The phone company said she did. That night. TOM WILKINS: Then I must've been sleeping. SAMANTHA SPADE: Why didn't you tell us she left you a message? (TOM WILKINS shakes his head, no. He thinks about it for a moment.) TOM WILKINS: I've been crazed. I haven't checked them since I left for London. SHORT TIME CUT TO: (TOM WILKINS is checking his phone messages. The telephone on the conference table is on speakerphone so everyone can hear the message played.) ANSWERING MACHINE: You have four new messages. First new message: Sent Tuesday at 11:48 P.M. (Quick flashback to MAGGIE CARTWRIGHT sitting on the floor of her apartment. She's leaning against the sofa.) MAGGIE CARTWRIGHT (MACHINE): Hey it's me. Um, I just ... uh, I wanted to ... (The music gets louder and the voice is shut off. Although we can't hear her, we can see that MAGGIE is still talking on the phone.) [CLOSED-CAPTIONING: MAGGIE CARTWRIGHT (W/O SOUND): ... say that uh, you're the only guy who ever really cared. And... ugh, I'm sorry about tonight.] (Sound resumes and we can hear MAGGIE say.) MAGGIE CARTWRIGHT (WITH SOUND): So... have a really great trip to London and don't worry about me, okay? No matter what happens. Okay, bye. (End of flashback. Resume to present.) (TOM WILKINS presses a button.) ANSWERING MACHINE: Message saved. CUT TO: SCENE #29: [INT. HALLWAY OUTSIDE TOM WILKINS' OFFICE - DAY] SAMANTHA SPADE: Maybe she left that message to cover for him. JACK MALONE: Nah, you're reaching. Tom's not the guy. If she wanted to extort a million dollars out of her mother why is she calling her that night to talk about the drapes? SAMANTHA SPADE: To make things look normal. JACK MALONE: Yeah, but things weren't normal. Think about everything she did that day from the beginning. First there was Brian, then her father then her mother, then finally Tom. She was saying good-bye. And when she slipped out that back alley door she didn't think she was going to be part of her own kidnapping. SAMANTHA SPADE: She was on her way to whoever was going to help her leave. JACK MALONE: Except they didn't help her, they turned on her. SAMANTHA SPADE: This new guy from work. The guy she's been using with. JACK MALONE: Maybe. CUT TO: SCENE #30: [INT. FBI MISSING PERSON'S UNIT - DAY - CONTINUOUS] (An assistant passes VIVIAN a sheet of paper. VIVIAN is on the phone.) ASSISTANT: Viv. VIVIAN JOHNSON: Here we go-- Sebol employees traveling internationally in the next 48 hours. INTERCUT WITH: [EXT. SIDEWALK - DAY] (JACK exits the parked car.) JACK MALONE: Just give me the men. VIVIAN JOHNSON: Okay. Simon Granger going to Paris; David Connors to Rome; and Bartholomew Higgins going to London, connecting to Katmandu, Nepal. JACK MALONE: Nepal? That's our guy. Who is he? VIVIAN JOHNSON: He's the computer technician. CUT TO: SCENE #31: 4:29 PM [INT. SEBOL PUBLISHING - BARTHOLOMEW HIGGINS' OFFICE - DAY] (MARTIN FITZGERALD opens the office door and holds it open. The door has a big "Out to Lunch" sign hanging on it. DANNY TAYLOR walks in.) DANNY TAYLOR: 4:30 is a bit late for lunch, don't you think? MARTIN FITZGERALD: Yeah, no kidding. DANNY TAYLOR: I'm going to check this out. You wait here. (DANNY TAYLOR leaves MARTIN FITZGERALD in the office. A secretary walks by. MARTIN stops her.) MARTIN FITZGERALD: Excuse me. Do you, uh, you know where Bart went for lunch? SECRETARY: He usually goes home. He only lives a couple blocks away. MARTIN FITZGERALD: Thanks. CUT TO: [EXT. BUSY SIDEWALK - DAY] (MARTIN FIZGERALD walks along the sidewalk.) SCENE #32: [INT. SEBOL PUBLISHING - SAME FLOOR - DAY - CONTINUOUS] (The double doors open. JACK MALONE and SAMANTHA SPADE walk in. They meet up with DANNY TAYLOR.) SAMANTHA SPADE: Danny. DANNY TAYLOR: We can't find the guy. JACK MALONE: Where's his office? DANNY TAYLOR: Follow me. CUT TO: SCENE #33: [EXT. BUSY SIDEWALK -- DAY] (MARTIN walks along the sidewalk. He turns and enters a building.) CUT TO: SCENE #34: [INT. SEBOL PUBLISHING - BARTHOLOMEW HIGGINS' OFFICE -- DAY] (DANNY TAYLOR walks into the office.) SAMANTHA SPADE: Where's Martin? DANNY TAYLOR: I don't know. CUT TO: SCENE #35: [INT. HALLWAY OUTSIDE BARTHOLOMEW HIGGINS' APARTMENT -- DAY] (MARTIN FITZGERALD knocks on the door. The door unlocks and BARTHOLOMEW HIGGINS sticks his head through the opening in the chained door.) MARTIN FITZGERALD: Hey, Bart. I'm sorry to bother you at home, man. I've got some more questions about Maggie's computer. Mind if I come in? CUT TO: SCENE #36: [INT. SEBOL PUBLISHING - BARTHOLOMEW HIGGINS' OFFICE -- DAY] (JACK MALONE is looking around the office. He sees a post-it note on the computer monitor. He turns around and looks at the bulletin board. He sees a piece of paper tacked to the bulletin board and notices something under it. He lifts up the paper and reveals a picture of a smiling MAGGIE CARTWRIGHT.) CUT TO: SCENE #37: [INT. BARTHOLOMEW HIGGINS' APARTMENT -- DAY] (BARTHOLOMEW HIGGINS motions for MARTIN to follow him inside. He moves through the hallway and into the living room.) BATHOLOMEW HIGGINS: I wasn't feeling too well so I just figured I'd come home for the day. MARTIN FITZGERALD: Well, this shouldn't take long. I was just wondering about that bit sector retrieval that we were working on ... (On the floor of the living room, MARTIN sees MAGGIE CARTWRIGHT'S backpack. Camera focuses in on the backpack's yin-yang emblem.) CUT TO: SCENE #38: [EXT. SIDEWALK -- DAY] (JACK MALONE and SAMANTHA SPADE hurriedly walk along the sidewalk to BARTHOLOMEW HIGGINS' apartment. They're putting on their FBI jackets.) CUT TO: SCENE #39: [INT. BARTHOLOMEW HIGGINS' APARTMENT -- DAY] (BARTHOLOMEW HIGGINS' apartment door bursts open. An officer moves aside. JACK MALONE appears with his gun drawn.) JACK MALONE: FBI! (SAMANTHA SPADE enters the apartment and locks the nearest door.) SAMANTHA SPADE: Clear. (SAMANTHA covers JACK and JACK enters the hallway and proceeds to the living room. He finds MARTIN FITZGERALD face down on the living room floor, a baseball bat next to him.) (SAMANTHA makes her way toward MARTIN and checks around the corner.) SAMANTHA SPADE: Clear. (JACK kneels and checks MARTIN'S pulse.) CUT TO: SCENE #40: [EXT. BACK ALLEYWAY -- DAY] (BARTHOLOMEW HIGGINS casually walks out into sidewalk. He's wearing a sweat jacket zipped up to his neck and a dark knit cap.) (More police sirens can be heard in the background.) (He turns the corner to see whether the main sidewalk is clear. To the left he sees two police officers. He turns right and sees DANNY TAYLOR. DANNY spots him and immediately draws his gun.) DANNY TAYLOR: Freeze! FBI! (BARTHOLOMEW HIGGINS runs in the opposite direction. He smashes into a sidewalk vendor's cart and falls to the ground. DANNY catches up and is right on top of him.) DANNY TAYLOR: Stay down! Stay down! Get your hands up! (Police officers assist.) CUT TO: SCENE #41: [INT. BARTHOLOMEW HIGGINS' APARTMENT -- DAY] JACK MALONE: Okay, den's on the right, I'll cover the bathroom. (SAMANTHA holds her gun and opens the bathroom door. Tied up and lying in the tub is MAGGIE CARTWRIGHT.) (JACK MALONE appears in the doorway next to SAMANTHA.) CUT TO: SCENE #42: [EXT. SIDEWALK -- DAY] (BARTHOLOMEW HIGGINS is on the ground. He's being handcuffed behind his back.) [CLOSED-CAPTIONING (NO SOUND): You have the right to remain silent. You give up the right to remain silent anything you say can and will be used against you.] CUT TO: SCENE #43: [EXT. IN FRONT OF BARTHOLOMEW HIGGINS' APARTMENT BUILDING -- EVENING] (MAGGIE CARTWRIGHT, accompanied by SAMANTHA SPADE and police officers, walk out of the building. They walk past camera frame.) [CLOSED-CAPTIONING (NO SOUND): Yeah, they're coming out right now.] (DANNY TAYLOR walks out of the building. He walks toward JACK MALONE who is drinking from a cup and standing in front of the opened ambulance doors. MARTIN FITZGERALD is being tended to inside the ambulance. DANNY looks at MARTIN and talks to JACK.) DANNY TAYLOR: Is he going to be okay? JACK MALONE: So stupid. MARTIN FITZGERALD: Jack ... Maggie going to be all right? JACK MALONE: Yeah, no thanks to you. You almost got her killed. You never should have gone in there alone. Take him to the hospital. Make sure he gets his head checked. DANNY TAYLOR: Yes, sir. (DANNY climbs into the ambulance. The doors close behind him.) CUT TO: SCENE #44: [INT. FBI -- NIGHT] (VIVIAN JOHNSON walks into the room. NANCY HIGHSMITH is sitting down next to her husband, PAUL CARTWRIGHT is standing behind.) VIVIAN JOHNSON: We're talking to Maggie now. She's shaken up, but unharmed. NANCY HIGHSMITH: Oh, my poor baby. (PAUL CARTWRIGHT sits down. He puts his hands over his eyes. PAUL and NANCY look at each other both relieved beyond words.) CUT TO: SCENE #45: [INT. FBI -- NIGHT] MAGGIE CARTWRIGHT: I just wanted to disappear for a while. I-I was going to let everybody know. I was going to call, just as soon as I ... SAMANTHA SPADE: We believe you, Maggie. You just wanted to get back to Nepal, right? (SAMANTHA hands MAGGIE the photo from her apartment of MAGGIE and her backpack.) JACK MALONE: Tell us about Bart. MAGGIE CARTWRIGHT: I've only known him a few weeks. I-I was having some trouble with my computer. (Quick flashback to MAGGIE in her office. She lets out a frustrated scream as her computer beeps and shows a "System Error" Message. BARTHOLOMEW HIGGINS appears in the doorway.) BARTHOLOMEW HIGGINS: You know, that won't really accomplish much. MAGGIE CARTWRIGHT: Please help me. (BARTHOLOMEW HIGGINS smiles and nods his head. End of flashback. Resume to present.) MAGGIE CARTWRIGHT: We started hanging out after work. I liked him. I ... I felt like he understood me. My stupid fantasy about getting away from it all ... changing my life. Then, one night, he offered me some coke. And the more I did it, the more it seemed like it was possible. And, all of a sudden, I found myself going for it. (Quick flashback to the night MAGGIE disappears. She walks into BARTHOLOMEW HIGGINS' apartment extremely excited.) MAGGIE CARTWRIGHT: I'm doing it, Bart. I'm getting out. BARTHOLOMEW HIGGINS: Really? You serious? MAGGIE CARTWRIGHT: Tomorrow morning. BARTHOLOMEW HIGGINS: Tomorrow? Wow! That doesn't give me much time to pack. MAGGIE CARTWRIGHT: What? BARTHOLOMEW HIGGINS: Well, it's what we talked about, Isn't I it? I mean, going to Nepal. MAGGIE CARTWRIGHT: Geez, Bart, I-I-I didn't mean for you to get the wrong impression. I - I ... BARTHOLOMEW HIGGINS: ... so what are you doing here? MAGIE CARTWRIGHT: I ... felt like you understood, and I ... I didn't want to be at my own place anymore. And I thought maybe you could drive me to the airport in the morning. BARTHOLOMEW HIGGINS: Have you already booked your flight? MAGGIE CARTWRIGHT: Not yet. BARTHOLOMEW HIGGINS: Well, how long are you going for? MAGGIE CARTWRIGHT: I don't know. (MAGGIE puts her backpack down and checks her passport.) MAGGIE CARTWRIGHT: Damn it, I brought the wrong passport. This is my old one. It's expired. I'm ... I'm just going to have to go get the new one. (MAGGIE moves to leave the apartment, but BART stands in her way. He doesn't let her leave. At first, he passively blocks her, then he turns aggressive and grabs her.) MAGGIE CARTWRIGHT: Bart, what are you doing? (End of flashback. Resume to present.) MAGGIE CARTWRIGHT: Next thing I knew ... he was coming up with this whole ransom thing and suddenly he was the one going to Nepal. SAMANTHA SPADE: Why'd you leave the apartment the way you did unlocked, with everything on? MAGGIE CARTWRIGHT: I-I don't know. I honestly don't know. It was, it was like I was in a dream or something. JACK MALONE: You wanted to be found. MAGGIE CARTWRIGHT: I am so sorry. JACK MALONE: It's our job. It's what we do. CUT TO: SCENE #46: [INT. FBI - MISSING PERSONS UNIT -- NIGHT] (MAGGIE CARTWRIGHT, accompanied by JACK and SAMANTHA, exit the Missing Persons Unit Offices. MAGGIE presses the elevator button, then turns around to the two agents.) MAGGIE CARTWRIGHT: Um... what do you, what you think Bart was going to do ... I mean, if you hadn't found me? JACK MALONE: His real name is Joseph Deemer. He's wanted for murder in Delaware. He would've killed you. (MAGGIE CARTWRIGHT is stunned silent. The elevator doors open. She steps inside and turns around.) MAGGIE CARTWRIGHT: Thank you. (The elevator doors close.) CUT TO: WHITEBOARD TIMELINE: (The picture of MAGGIE CARTWRIGHT is removed and the Whiteboard is being erased. Case closed.) ======================== FADE TO BLACK. ======================== CUT TO: ANTHONY LAPAGLIA: (v.o.) Do you have any information on this real missing person? Please contact your local FBI office. MISSING: JOSEPH W. MORSE DOB: 07-13-1981 MISSING: 05-06-2000 AGE NOW: 21 SEX: MALE HEIGHT: 5'9" WEIGHT: 140 LBS. HAIR: LIGHT BROWN EYES: BLUE MISSING FROM: ATLANTA, GEORGIA CONTACT YOUR LOCAL FBI OFFICE FADE TO BLACK. ======================== THE END ======================== [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/ Please do not archive without permission. ======================== BEGINNING/TITLE CREDITS ======================== WITHOUT A TRACE 1X01: PILOT ORIGINAL AIR DATE ON CBS: 09/26/2002 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 ARIJA BAREIKIS as Maggie Cartwright BRUCE DAVISON as Paul Cartwright (Dad) ROSEMARY FORSYTH as Nancy Highsmith (Mom) ZACH GRENIER as Ricardo (Boss) BRADFORD TATUM THOM BARRY NOEL GUGLIELMI TAYLOR NICHOLS as Tom Wilkins Produced by: BARRY WALDMAN Co-executive Producer: HANK STEINBERG Executive Producer: DAVID NUTTER Executive Producer: JONATHAN LITTMAN Executive Producer: ED REDLICH Written by HANK STEINBERG Directed by DAVID NUTTER ======================== END CREDITS ======================== JERRY BRUCKHEIMER Television CBS Productions Warner Bros. Television, An AOL Time Warner Company www.warnerbros.com Associate Producer: AGATHA WARREN Director of Photography: PETER LEVY, A.S.C. Production Designer: PETER POLITANOFF Edited by: STEPHEN MARK, A.C.E. Music by JOHNNY KLIMEK and REINHOLD HEIL Unit Production Manager: SCOTT WHITE First Assistant Director: JOHN G. SCOTTI Second Assistant Director: KRISTEN PLOUCHA Casting by RONNA KRESS, C.S.A. and TRACY KAPLAN, C.S.A. Guest Starring STEPHEN SNEDDEN as Brian Daugherty Co-Starring HOPE LEVY as Secretary TY MILLER as FBI Agent FBI Technical Advisor: MARK LLEWELLYN Set Decorator: JACKIE CARR Property Master: JOE CONNOLLY Costume Designer: DANIELE KING Costume Supervisor: ELAINE MASER Make-up Artist: TINA ROESLER KERWIN Hair Stylist: BEATRICE DE ALBA Production Sound Mixer: JAMES THORNTON Location Manager: BOYD WILSON Transportation Coordinator: BRUCE HAUER Supervising Sound Editor: KAREN BAKER Music Editor: JOSHUA WINGET Re-recording Mixers: YURI REESE / BILL SMITH FILM PROCESSING BY CFI Visual Effects by STARGATE FILMS / SKIP FILMS / ASYLUM 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 Production #475182? 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: 10/21/2002~lky