WITHOUT A TRACE 1X06: SILENT PARTNER ORIGINAL AIR DATE ON CBS: 10/31/2002 TRANSCRIBED FROM CBS Written by GREG WALKER Directed by RANDY ZISK Transcript by Intrepid Courtesy of http://www.webphilia.com/~anthology/wnp.html Please do not archive without permission. RATING: TV-PG-L ========================== DISCLAIMER: ========================== "WITHOUT A TRACE" and other related entities are owned, (TM) and (c) by JERRY BRUCKHEIMER Television, CBS Productions, and Warner Bros. Television (an AOL Time Warner Company). All Rights Reserved. This transcript was made without their permission, approval, authorization or endorsement. Any reproduction, duplication or distribution of this material in any form is expressly prohibited. It is absolutely forbidden to use it for commercial gain. 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 goes in search of an Investment Executive and finds out that the man was secretly living two lives with two wives on two separate coasts. ========================== WITHOUT A TRACE 1X06: SILENT PARTNER ========================== COLD OPEN: [EXT. NEW YORK CITY (STOCK) - DAY] [EXT. NEW YORK CITY HIGHWAY (STOCK) - DAY] CUT TO: SCENE #01: [INT. SAN DIEGO AIRPORT - DAY] (Camera gives a top view of the fluorescent lights reflected off of the empty airport floor.) (Dissolve in the busy people carrying their cases and toting their possessions as they walk along the airport floor.) (Cut to check in counter for gate #24.) PAULA (ATTENDANT): You always cut it close, don't you? PATRICK KENT: Hate to leave the sunny skies. You think I have time to grab a paper? (PAULA glances up at the clock and smiles.) PAULA (ATTENDANT): Three minutes. PATRICK KENT: (smiling) You're an angel, Paula. Thanks. (PATRICK KENT takes his tickets/boarding pass and leaves the counter. PAULA smiles and holds out her hand to the next customer.) PAULA (ATTENDANT): (to next customer) Hi. JACK: (v.o.) His name's Patrick Kent, 43, married, ... (White flash to PATRICK KENT walking through the airport to the gate and toward the camera. He's a distance away. The people around him are blurred to give the effect that he's in a state of timelessness.) JACK: (v.o.) ... no children. Vice president of NJ Ritter and Associates Investment Banking Firm. (Cut to PATRICK KENT much closer to the camera and slowly walking out of camera frame. The people around him are still blurred.) JACK: (v.o.) He checked in for a flight headed home to New York FLASH TO WHITE: SCENE #02: [INT. SAN DIEGO AIRPORT - DAY] (Check in counter for gate #24. The camera moves down slowly.) JACK: (v.o.) ... got his boarding pass, wandered off and never came back. LEGEND: 24 HOURS MISSING (PAULA, the same ticket agent, is at the counter. JACK MALONE is on the other side of the counter with his notebook open.) PAULA (ATTENDANT): We had to pull his bags off the plane. People were pretty freaked out. JACK: Did you notice anything unusual about his behavior? PAULA (ATTENDANT): No. He was late as always ... but friendly. JACK: So you saw him quite a bit? PAULA (ATTENDANT): Twice a month, like clockwork. JACK: And nothing like this ever happened before? PAULA (ATTENDANT): No. DANNY: (o.s.) Jack. (JACK glances over at DANNY who is standing by PATRICK KENT'S luggage.) JACK: (to PAULA) Excuse me for a second. DANNY: These are the bags he checked. (DANNY opens the suitcases and they are both empty.) JACK: Three-day business trip, two empty suitcases. DANNY: Maybe he never intended on going to New York. Maybe he just wanted it to look that way. (JACK turns around and looks over at the busy walkway area. He envisions PATRICK KENT walking toward him with his briefcase in his hand. As he gets closer, PATRICK KENT disappears.) CUT TO: [WHITEBOARD] (Camera moves in slowly to the photo of PATRICK KENT.) HARD CUT TO END OF TEASER ROLL TITLE CREDITS (COMMERCIAL SET) FADE IN. [EXT. NEW YORK CITY (STOCK) - DAY] SCENE #03: [INT. FBI - MISSING PERSONS UNIT -- DAY] LEGEND: 39.5 HOURS MISSING (JACK walks across the main office to the conference table.) JACK: Okay, so what we have here is Patrick Kent-- son-in-law of a wealthy New York financier. I was expecting a ransom note. He's been missing for 40 hours, so... (SAMANTHA pulls out a chair and also takes her seat at the table.) SAMANTHA: So why are we even on this case? I mean, adult male free to come and go as he pleases. Other than a couple empty suitcases there's no sign of foul play. JACK: Like I said, we have the missing son-in-law of a wealthy New York Financier. When Noah Ritter calls, we mere mortals jump. Where are we with this? (MARTIN just joins the table and takes his seat next to VIVIAN.) MARTIN: Danny just checked in. Apparently, Kent's got a company car that he keeps out there. He usually takes it to the airport. Haven't located it yet. JACK: Five a.m. -- Danny's up early. SAMANTHA: That's assuming he went to bed. JACK: Where are we with Kent's cell phone? SAMANTHA: Records show he received a call at 1:55 P.M. Three minutes after he checked in, five minutes before last call for boarding. We traced the call to a conference room in his New York office. JACK: Well, whatever happened on that call stopped him from getting on that plane. SAMANTHA: So far no one in his office is copping to making the call. (JACK shakes his head and looks at SAMANTHA who returns his head shake and gathers her things.) SAMANTHA: I'll head over there and see what I can find out. (SAMANTHA leaves the table.) JACK: Great. Martin, you're on your way to San Diego to liaise with Danny. (JACK hands MARTIN an airline ticket.) VIVIAN: (to MARTIN) Don't forget your surf gear. (MARTIN gets up and leaves the table.) VIVIAN: (to JACK) Should we send a referee? JACK: Nah, let 'em duke it out. (JACK gathers his things and leaves the table. Before he passes VIVIAN, she adds.) VIVIAN: By the way, your wife called ... twice. JACK: Thanks. (JACK leaves.) CUT TO: [EXT. NEW YORK CITY (STOCK) - DAY] LEGEND: 41 HOURS MISSING SCENE #04: [INT. PATRICK KENT RESIDENCE -- DAY] (Scene opens on a close up of a foyer table with two framed pictures of KATHERINE KENT with her father, NOAH RITTER. A tumbler on a coaster is also on the table.) (JACK is interviewing PATRICK KENT'S wife, KATHERINE.) KATHERINE KENT: I don't understand. If you're here, who's looking for him? JACK: We have two agents on the ground in San Diego. They'll coordinate with the FBI office there. How often did your husband travel to California? KATHERINE KENT: Once a month for about a week each time. Father sent him to open the San Diego office five years ago. JACK: Okay. Tell me about the last time you saw your husband. KATHERINE KENT: It was the morning he left for San Diego we had a fight. (Camera pans toward the staircase. Quick flashback to the day PATRICK KENT left. PATRICK KENT appears walking down the staircase carrying two suitcases.) KATHERINE KENT: (v.o.) Well, not a fight exactly. PATRICK KENT: Is the car here yet? KATHERINE KENT: In a big hurry to leave? PATRICK KENT: Traffic's backed up on the Van Wyck. I don't want to miss the flight. (PATRICK KENT reaches the bottom of the stairs and puts his cases down. KATHERINE KENT is lounging on the couch going through a magazine. She doesn't seem happy that PATRICK is leaving.) KATHERINE KENT: Between your problems at the office and your California trips, it seems like you're never here. PATRICK KENT: You know, I'm doing the best I can. KATHERINE KENT: I've heard that before. PATRICK KENT: What do you want from me, Katherine? (KATHERINE doesn't say anything.) PATRICK KENT: I got to go. I'll be back soon. (PATRICK picks up his suitcases and turns to leave. KATHERINE stops him.) KATHERINE KENT: I spoke with father. He's taking you off the San Diego account. He agrees it would be better if you spent more time in New York. (PATRICK doesn't say anything. KATHERINE goes back to her magazine. PATRICK leaves the room.) (PATRICK vanishes. End of flashback. Continue to present.) JACK: You always call your father to help with your marital problems? (KATHERINE doesn't say anything, tho' she is taken aback by the question.) JACK: How long you been married? KATHERINE KENT: 15 years. JACK: When did it get strained? KATHERINE KENT: I don't know. I didn't mark the day on a calendar. JACK: How would you describe your husband? KATHERINE KENT: He's very focused on work, on the company. He was under a lot of pressure lately. JACK: And how does he get on with your father? KATHERINE KENT: Fine. Why? JACK: Marital stress, trouble at work, he might have just run off. In which case, it's not my problem. KATHERINE KENT: Well, if he did I would like to at least know that he's safe. JACK: Why, do you think he's in some kind of danger? KATHERINE KENT: I don't know. I don't know what to think. (Camera holds on JACK.) CUT TO: [WHITEBOARD TIMELINE: "ARGUMENT WITH WIFE"] [EXT. NEW YORK CITY (STOCK) - DAY] LEGEND: 42 HOURS MISSING SCENE #05: [INT. N.J. RITTER AND ASSOCIATES - CONFERENCE ROOM -- DAY] (SAMANTHA interviews PATRICK KENT'S secretary in the Conference Room. A large portrait of the founder, NOAH RITTER hangs on the wall between them.) SAMANTHA: Your boss received a call from this conference room at 4:55 on Friday. Do you have any idea who might have made that call? SECRETARY: No. I was out of here by four. Patrick usually lets me leave early on Fridays. SAMANTHA: Sounds like a good boss. SECRETARY: Yeah, he's not like the rest of these bastards. Greedy, lying, misogynistic. SAMANTHA: Oh, good combination. SECRETARY: Yeah, well, (glancing at the portrait of NOAH RITTER) the fish rots from the head. (SAMANTHA glances at the portrait.) SAMANTHA: So, how does Patrick survive here? SECRETARY: Oh, I'm not sure he has been. (Camera pans over to PATRICK KENT'S office.) SECRETARY: (v.o.) The night before he left or San Diego I came in here with some papers for him to sign. (Quick flashback to PATRICK KENT working in his office. His Secretary walks into the room holding a folder.) SECRETARY: I'm sorry, I didn't mean to ... (She turns around ready to leave him alone. He stops her.) PATRICK KENT: No, no. It's okay. (The secretary sighs and gives him the papers to sign.) SECRETARY: Sign. (PATRICK KENT starts going through the papers to sign.) SECRETARY: (quietly) You know, you work too hard. PATRICK KENT: Work isn't the hard part. (He finishes and hands her the folder.) PATRICK KENT: (tired) Trying to do the right thing, that's the hard part. (She walks out of the room. End of flashback. Dissolve back to present.) SAMANTHA: What did he mean by "doing the right thing"? SECRETARY: I don't know. My guess is he feels trapped here. SAMANTHA: Do you think he wanted to quit? SECRETARY: Well, even if he did, it wouldn't be that easy. Look who he's married to. CUT TO: [EXT. SAN DIEGO BEACH (STOCK) - DAY] LEGEND: SAN DIEGO, CA SCENE #06: [INT. SAN DIEGO AIRPORT -- DAY] LEGEND: 47 HOURS MISSING (MARTIN walks through the gate carrying his bag. DANNY meets him at the gate.) DANNY: Fitzy, let me get that for you. (DANNY takes MARTIN'S bag from him and they walk through the walkway.) DANNY: How was your flight? (MARTIN doesn't say anything.) DANNY: (smiling) Look, Jack says I have to be nicer to you, all right? MARTIN: You guys sure go out of your way to make me feel welcome. DANNY: That's because we know that our department's small potatoes for a guy like you. You are off to bigger and better. MARTIN: I see you got the memo. (DANNY chuckles. He stops and stands right in front of MARTIN.) DANNY: Look, are we going to work together or not? MARTIN: I don't know. Are we? DANNY: Let's start at the bar. (DANNY hands MARTIN'S bags back to him and they both head to the bar.) CUT TO: SCENE #07: [INT. SAN DIEGO AIRPORT - BAR - DAY -- CONTINUOUS] (Camera close up of a photo of PATRICK KENT.) BARTENDER: Yeah, sure. Uh, came in every month or so. Uh, just saw him a couple days ago. (The Bartender hands the photo back to MARTIN who puts it in his jacket pocket.) MARTIN: Boozer? BARTENDER: No. Club soda with lime. (Dissolve to flashback of PATRICK KENT finishing his drink.) BARTENDER: (v.o.) Except last time. He comes in, looks rattled. Orders a double Jack, neat. Big tipper. That day included. (PATRICK KENT puts the empty glass back on the counter. End of flashback. Resume to present.) MARTIN: Did he say what he was upset about? BARTENDER: Didn't say much at all. Never did. DANNY: Anything else? BARTENDER: Yeah, there was this guy that day. He kept looking over at him like he was interested in him. I thought it was a love thing. DANNY: Did they talk? BARTENDER: No, but I remember as soon as your guy left the other guy got up and followed him. MARTIN: What'd he look like? BARTENDER: Uh, tall, mustache, but that's really about all I can remember. Look, are we all done? DANNY: Yeah, we're good. (The BARTENDER leaves. MARTIN picks up his bag.) DANNY: Problems at home, problems at work starts hitting the bottle, doesn't stop. MARTIN: And he's passed out somewhere in Tijuana? DANNY: Yeah. Stranger things have happened, my man. (DANNY and MARTIN leave the bar.) MARTIN: Ah, it sounds to me like his biggest problem was that someone was following him. CUT TO: [WHITEBOARD TIMELINE: 1 PM : HAS DRINK AT AIRPORT BAR] SCENE #08: [INT. NJ RITTER AND ASSOCIATES - OFFICE -- DAY] (JACK and SAMANTHA are interviewing NOAH RITTER.) NOAH RITTER: I can't begin to tell you how concerned we all are. Patrick was like a son to me. SAMANTHA: Did you and Patrick work together closely? NOAH RITTER: For thirteen years. I liked him the first time Katherine brought him home. He had street smarts. Not like all the other ... silver spoons that she went out with. SAMANTHA: Did you speak to him the day he disappeared? NOAH RITTER: I, um, usually e-mail Patrick when he's away. I hadn't spoken to him for a few days. SAMANTHA: Do you have any idea who might have made that phone call from the conference room? NOAH RITTER: No. As my people told you it could have been anybody. JACK: Katherine seemed to think that he was under a great deal of pressure. NOAH RITTER: We'd been threatened with a trivial lawsuit ... (Quick flashback to PATRICK KENT, NOAH RITTER and four other associates standing at the conference table facing the table. PATRICK KENT stands in the middle.) NOAH RITTER: (v.o.) ... by some embittered investors. Patrick was handling the negotiations. (An angry SHAREHOLDER slaps a file down onto the conference table. He's standing there with over a dozen other people.) SHAREHOLDER: Your fraudulent policies have wiped out our life savings! We are tired of being ripped off! PATRICK KENT: Sir, I understand. I want to help. SHAREHOLDER: Oh, yeah? How? With your fat bonuses? Your fat stock options? Uh-uh. You bled us dry. Now it's your turn to bleed. (Flash to PATRICK KENT standing in front of the conference table by himself.) NOAH RITTER: (v.o.) It's a lousy job ... (White flash to end of flashback. Resume to present.) NOAH RITTER: ... but Patrick was the best man for it. JACK: Why is that? NOAH RITTER: He's honest. People trust him. SAMANTHA: We'd like a list of those shareholders, please. NOAH RITTER: Why? SAMANTHA: Because there were a lot of angry investors and your son-in-law was right in the line of fire. NOAH RITTER: Anything you need. JACK: We also need to look at his files. NOAH RITTER: That ... I'll have to clear with our attorneys. (NOAH RITTER stands.) JACK: Of course you do. (NOAH RITTER leaves. I guess the interview is over. After a moment, JACK stands up to leave.) SHORT TIME CUT TO: SCENE #09: [EXT. NJ RITTER & ASSOCIATES - DAY] (SAMANTHA and JACK walk out of the building and onto the sidewalk.) JACK: He doesn't want us on this. SAMANTHA: So, who are we getting pressured from? JACK: Well, when I got the call from upstairs I thought it was Ritter. SAMANTHA: Well, his daughter's got plenty of connections. Maybe it's her. JACK: Yeah, but she's a daddy's girl. For something like this she'd have him doing the pushing. SAMANTHA: Unless she knows daddy doesn't want him found. (They both walk out of camera frame.) CUT TO: [EXT. SAN DIEGO - BEACH -- DAY] SCENE #10: [INT. SAN DIEGO - R & A CORPORATE APARTMENT -- DAY] LEGEND: R & A CORPORATE APARTMENTS (DANNY and MARTIN walk into the apartment.) DANNY: Not a lot of TLC poured into this place. MARTIN: These corporate apartments are always a bit depressing. (DANNY opens the refrigerator and checks out its contents.) DANNY: A bottle of mustard, a box of baking soda. That's thin, even for a bachelor pad. (DANNY also checks out the freezer which is empty.) MARTIN: The manager said he hasn't seen him in months. (MARTIN checks out the tv guide on the television set. DANNY walks into the room.) DANNY: This guy is either living on a steady diet of take-out and fluff 'n fold or he's ... MARTIN: Hey, take a look at this. (MARTIN hands the tv guide to DANNY.) MARTIN: Check out the date. DANNY: Yeah. (DANNY chuckles.) MARTIN: Let's give jack a call. (MARTIN pulls out his cell phone. It chirps on.) CUT TO: [EXT. NEW YORK CITY (STOCK) -- NIGHT] LEGEND: 50.5 HOURS MISSING SCENE #11: [INT. FBI - MISSING PERSONS UNIT -- NIGHT] (JACK walks into the conference area and sits at the table where VIVIAN is working.) JACK: The boys just called from San Diego. Patrick hasn't lived in that corporate apartment for months. VIVIAN: There's no hotel charges on his credit card statements. JACK: Well, Mr. Brooks Brothers's not living out of his car. VIVIAN: That's just it. He's only Mr. Brooks Brothers on the east coast. New York, he's Noble, Ralph Lauren, Tiffany's; but in San Diego, it's Denny's and discount outlets. JACK: Two lives. VIVIAN: Mm-hmm. This is interesting, though. He spent a thousand bucks at a household appliance store two weeks ago. JACK: In San Diego? VIVIAN: Yeah. Why do you need a washer/dryer for a place you never go to? JACK: Check out the delivery address. (VIVIAN nods. JACK gets up and leaves.) CUT TO: SCENE #12: [EXT. SAN DIEGO - SEA SPRITE APARTMENTS - DAY] (Scene opens on a top view shot of people playing in the swimming pool. Camera pans over and we see DANNY and MARTIN climbing the stairs to one of the apartments.) DANNY: Somewhere far, far away, Martha Stewart weeps. Looks like our boy Patrick went to the mattresses. (DANNY pulls out his ID and knocks on the glass door. MARTIN pulls out the photo of PATRICK KENT. A woman opens the sliding door.) DANNY: Hi. Sorry to bother you. We're with the FBI. MARTIN: Have you seen this man before? (MARTIN holds up the photo. She takes it and looks at it.) AMALIA KENT: Yes. This is my husband. FADE TO BLACK. (COMMERCIAL SET) FADE IN. [EXT. SAN DIEGO -- SEA SPRITE APARTMENTS -- DAY] LEGEND: 51 HOURS MISSING SCENE #13: [INT. KENT'S SAN DIEGO RESIDENCE -- DAY] (DANNY and MARTIN interview AMALIA KENT in her living room.) AMALIA KENT: I don't understand. Who reported him missing? DANNY: We got a call from his office. AMALIA KENT: Well, nobody called me. What happened to him? Is he in trouble? ROBERT: Mom? (ROBERT, AMALIA'S son, walks in. MARTIN turns around.) DANNY: We don't know. AMALIA KENT: (to ROBERT) Sweetheart, can you go back to your room, please? (MARTIN stands up when the young man enters the room. ROBERT looks around and sees the two men questioning his mother. He leaves.) (MARTIN notices a small framed photograph on the table. It shows AMALIA in a veil with PATRICK and ROBERT between them. They're all dressed in white.) MARTIN: How long you been married? AMALIA KENT: Two years. MARTIN: And you met...? AMALIA KENT: I was waiting tables at the Baja Cantina. I had just moved here from Oklahoma. Why is this important? DANNY: Ma'am, the more we know about your husband, the better the chances are that we'll find him. MARTIN: What did he do for a living? AMALIA KENT: I thought you spoke to his office. (Too late. MARTIN realizes his mistake. DANNY quickly asks the next question.) DANNY: When was the last time that you saw him? (AMALIA takes a moment and thinks about it.) AMALIA KENT: It was Friday morning. He was supposed to stay until Monday like always ... (Camera pans over to a flashback.) AMALIA KENT: (v.o.) ... but he said he had to get back to New York. (PATRICK is fixing breakfast for everyone. He's at the stove. AMALIA is sitting at the kitchen table with ROBERT who is holding a baseball glove. He fills the plate and walks it over to sit between the two.) PATRICK KENT: Bacon order coming up, little man. Extra crispy. ROBERT: Can I go outside and play with my new glove? AMALIA KENT: Mm-mmm, not until you finish your breakfast. PATRICK KENT: No, that's okay. I'll keep it warm for you. (ROBERT runs out the door with his glove. AMALIA chuckles.) AMALIA KENT: You spoil him. And me. PATRICK KENT: You make it easy. (He holds out a piece of bacon for her and she takes a bite.) AMALIA KENT: Mmm. (they kiss.) Mmm ... why do you have to leave so early? PATRICK KENT: I'll be back before you know it. AMALIA KENT: Are you okay? You've been quiet lately. Something wrong? PATRICK KENT: Not a thing in the world. (AMALIA watches PATRICK as he turns and reads the paper. She looks as if she might not believe him. End of flashback. Resume to present.) AMALIA KENT: I always ask him to share his problems with me, but he just says he doesn't want me to worry. DANNY: He had two empty suitcases with him on the plane. Do you have any idea why? AMALIA KENT: Yeah, he was starting to move more of his clothes here. I told him that our situation had to change. He had to spend more time here or we had to move with him to New York. MARTIN: So, he committed to coming here? AMALIA KENT: Yeah. He even started a restaurant with my brother. He just said he had to go back to New York to finish some things with work and by Christmas, everything would be settled. MARTIN: Did he say what needed to be finished? AMALIA KENT: No. Because he doesn't talk to me about his work. But I think he was getting pretty serious because after he left, a man showed up with a package and he said that if he didn't deliver it to Patrick, he would lose his job. I told him Patrick had already left for the airport. DANNY: Have you ever seen this man before? AMALIA KENT: No. DANNY: What did he look like? AMALIA KENT: Forties, um ... average-looking guy. MARTIN: Mustache? AMALIA KENT: Could be. I don't remember. MARTIN: Did he give a name? AMALIA KENT: No. But I saw his car. It was a green pickup. CUT TO: [WHITEBOARD TIMELINE: 12:15 PM - MYSTERY MAN LOOKS FOR PATRICK] SCENE #14: [EXT. SAN DIEGO KENT RESIDENCE -- SEA SPRITE APARTMENTS -- DAY] (MARTIN is on the phone with JACK. DANNY looks out over the railing just outside the residence.) MARTIN: (o.s.) Okay. (MARTIN hangs up. He and DANNY both walk down the stairs.) MARTIN: Jack wants us to check out her brother. DANNY: What does he say about the fact that there's two guys following Patrick? MARTIN: They're on it. They're checking out the shareholders. (They reach the bottom sidewalk and continue walking.) MARTIN: (sighs) I dropped the ball on that work thing. DANNY: (reassuring) Don't worry about it. Went right over her head. Trust me. (MARTIN doesn't respond) Trust me. MARTIN: So, this Kent guy, he's moving his stuff out here starting a restaurant with her brother. Everything says he's leaving the cold for the warmth. And all of a sudden, he leaves them both behind? DANNY: Well, you know the guy that was following him at the airport? Could be the same guy that's coming around here. MARTIN: An angry shareholder? DANNY: Yeah. (They reach their car and talk above the hood of the car.) MARTIN: There's about twenty thousand of them. DANNY: Imagine that. Keeping two wives in the dark for that long. MARTIN: I know. I can't date two women for a month without blowing my cover. DANNY: There are lots of women that can. (MARTIN smiles and opens the car door. He gets inside.) DANNY: Women are better liars than men. I mean, it's proven. (DANNY gets into the car.) MARTIN: (suggests) What if she did know and she's just playing us? (Camera holds on DANNY as he thinks about it.) CUT TO: SCENE #15: [EXT. NEW YORK KENT RESIDENCE -- DAY] (JACK and SAMANTHA walk along the street from their parked car and head toward the hotel's front doors.) SAMANTHA: What do we get from telling her? JACK: I want to see her reaction. SAMANTHA: You think she already knows. JACK: On some level; I just want to see how deep. (They walk out of camera frame.) CUT TO: SCENE #16: [INT. NEW YORK KENT RESIDENCE -- DAY] (KATHERINE KENT pours herself a drink. JACK and SAMANTHA sit on the chairs across the room from her.) KATHERINE KENT: How long? JACK: About two years. KATHERINE KENT: And there's a child? JACK: Stepson. KATHERINE KENT: He said he didn't want any children. (She takes a drink and turns around to face them.) KATHERINE KENT: Does she know about me? JACK: No. KATHERINE KENT: Is there a possibility that he was going to run off with her? JACK: It's hard to tell at this point. SAMANTHA: Is there anything in his behavior that you can think of that makes sense now? KATHERINE KENT: He was unhappy, but ... I never imagined anything like this. SAMANTHA: What did you imagine? KATHERINE KENT: I don't know. To be honest with you I haven't thought about it until now. JACK: What about your father? KATHERINE KENT: What about him? JACK: Would he have any idea? KATHERINE KENT: No. Why would he? JACK: Well, people in your father's position tend to know what's going on around them especially when it concerns their employees. KATHERINE KENT: Well, if my father did know, he would have told me. JACK: Right. (KATHERINE takes another drink from her glass. JACK glances over at SAMANTHA.) CUT TO: SCENE #17: [EXT. NEW YORK KENT RESIDENCE - EVENING -- CONTINUOUS] (JACK and SAMANTHA walk out of the KENT'S New York Residence at 1720 Park Avenue.) JACK: What do you think? SAMANTHA: She's hiding something. Hard to tell with the drinking, but ... JACK: Two lives, two wives -- twice as many people to piss off. SAMANTHA: Yeah, well, a quick trip to the divorce lawyer would fix that. JACK: What's your point? This guy's not worth finding? SAMANTHA: All I'm saying, this is a guy who has run from all his obligations. He's lied to everybody he knows. JACK: Or he's a middle-class guy, marries a tycoon's daughter, realizes he made a pact with the devil and he can't escape. (JACK opens the car door and gets in. SAMANTHA stands there with an incredulous look on her face for a moment before opening the car door and also getting in.) (They drive off.) CUT TO: SCENE #18: [INT. SAN DIEGO -- THE BUOY - DAY] (DANNY follows AMALIA'S brother, LUIS down the hallway. LUIS is carrying a box for the restaurant.) DANNY: So, when was the last time that you saw him? LUIS: I haven't seen Patrick in over a week. We've been pretty busy around here. (LUIS reaches the bar and puts the box down on the counter. MARTIN walks up to them.) MARTIN: A week; are you sure about that? Because your workers said that Patrick was here with you a couple days ago. (LUIS looks over at the two men that MARTIN just finished interviewing.) LUIS: So, I got a bad memory. I'm sorry, I got a lot on my mind. MARTIN: Well, I got a lot on my mind. So, why don't you sit down and relax and attempt to come clean with us? I think it might make you feel better. (DANNY smiles. LUIS sits down in the nearest chair.) MARTIN: Now ... they said you guys were having a fight. What was the deal? LUIS: We weren't fighting. I was just trying to protect him. (Quick flashback to just a few days ago in the restaurant. PATRICK and LUIS are sitting at a table.) LUIS: This guy came in, he said he was a restaurant inspector. Had an ID badge, and everything. PATRICK KENT: What did he ask you? LUIS: He was pretty normal until he starts ... PATRICK KENT: What did you tell him?! LUIS: Nothing. I said you were my silent partner, that's it. That's it. PATRICK KENT: Did he ask about Amalia and Robert? LUIS: No, it wasn't like that. What's going on with you? You in some kind of trouble? (End of flashback. Resume to present.) LUIS: He wouldn't tell me, and I didn't push. DANNY: Why wouldn't you tell us this at the beginning? LUIS: He did right by my sister, okay? And Robert. DANNY: And you? LUIS: And me. DANNY: What's the deal with this place, hmm? What's in it for Patrick? LUIS: He lent me the money. He said he wasn't going to get too involved. I couldn't shut him up after that. He got really into it. Said he wanted to work here after he moved out. Guess Wall Street ain't doing too well these days. MARTIN: (interrupting) This inspector, what did he look like? LUIS: Tall ... mustache ... forty, forty-five ... (From the side, a customer calls out to him. LUIS looks at his customers and asks MARTIN and DANNY.) LUIS: Do you mind? MARTIN: No, go ahead. (LUIS stands and leaves the two men.) DANNY: Tall, mustache? Sounds like the guy at the airport. MARTIN: He's not a restaurant inspector. DANNY: Or an angry investor. MARTIN: No, whoever this guy is, he's serious. CUT TO: [EXT. NEW YORK CITY (STOCK) - NIGHT] SCENE #19: [INT. FBI - MISSING PERSONS UNIT - MALONE'S OFFICE] (Scene opens with the camera slowly panning across the office credenza behind JACK'S desk where he has framed photographs of two girls, presumably his two daughters. The camera stops on JACK on the phone.) JACK: (quietly to phone) I did call. (pause) I called you and you hung up. (sighs) No. (pause) No. (pause) Look, I'm not ignoring you, okay? (pause) Yeah, well, you're the one who seems to not want to work this out ... CUT TO: SCENE #20: [INT. FBI - MISSING PERSONS UNIT - MAIN OFFICE] (SAMANTHA is working at the conference table.) VIVIAN: What are you doing? SAMANTHA: Trying to figure out who was following our "Prince Charming". VIVIAN: Don't judge the guy. It sounds like he was really trapped. SAMANTHA: It's called divorce. What is with you people? VIVIAN: You're taking it a little personally. SAMANTHA: You go to a lawyer, he draws up the papers, you sign them, you swallow your regret, and you move on. VIVIAN: And of course you're speaking from experience. (SAMANTHA doesn't say anything.) CUT TO: SCENE #21: [INT. FBI - MISSING PERSONS UNIT - MALONE'S OFFICE -- CONTINUOUS] (JACK is still on the phone.) JACK: (to phone) (frustrated) Fine, fine, do whatever you want. (JACK hangs up.) (Cut to outside the office looking into JACK'S office through the glass windows.) CUT TO: SCENE #22: [INT. FBI - MISSING PERSONS UNIT - MAIN OFFICE -- CONTINUOUS] (SAMANTHA answers VIVIAN'S question.) SAMANTHA: Yeah. I was married once. When I was 18. VIVIAN: Really. SAMANTHA: Yeah, it was red hot for the first two weeks and ice cold the last four months. VIVIAN: Well, at least you understand commitment. SAMANTHA: (chuckles softly) Thanks. (Someone passes by VIVIAN and hands her a sheet of paper. VIVIAN looks at it.) VIVIAN: Whoa. SAMANTHA: What? VIVIAN: I ran the passenger manifest on all Kent's JFK-San Diego flights in the last year. On the last five, the same name appears on each flight inbound and outbound -- Thomas Shannon. SAMANTHA: You run him? VIVIAN: Uh ... retired Secret Service. SAMANTHA: Yeah, they normally go into private security work. VIVIAN: Corporate? SAMANTHA: Let's see. (SAMANTHA looks in the file on the table and dials the speaker phone.) MAN 1: (phone) NJ Ritter and Associates. SAMANTHA: (to phone) Security Department, please. MAN 1: (phone) I'll transfer you. MAN 2: (phone) Security. SAMANTHA: (to phone) Thomas Shannon, please. MAN 2: (phone) Mr. Shannon does not work out of this office, but I can take a message. SAMANTHA: No, thank you. (SAMANTHA hangs up.) SAMANTHA: (to VIVIAN) Why was Noah Ritter having his son-in-law followed? (VIVIAN shrugs and walks away from the table. The camera pans backwards till it rests on the picture of PATRICK KENT hanging on the Whiteboard. Camera holds.) FADE TO BLACK. (COMMERCIAL SET) FADE IN. [EXT. NEW YORK CITY (STOCK) - DAY] SCENE #23: [INT. FBI - MISSING PERSONS UNIT - CONFERENCE ROOM] LEGEND: 65 HOURS MISSING (NOAH RITTER, THOMAS SHANNON and the CORPORATE ATTORNEY are sitting at the table with JACK, SAMANTHA and VIVIAN.) JACK: Why didn't you tell me that you were having your son-in-law followed the first time we met? NOAH RITTER: Patrick is married to my daughter and he is the vice president of my company. You don't just throw accusations unless you can prove them. JACK: So, why have him followed in the first place? NOAH RITTER: Unexplained absences. Meetings with unknown associates. We thought it best to take a deeper look. SAMANTHA: But he would have recognized your own security personnel, so you hired an outside contractor. Mr. Shannon. NOAH RITTER: That's right. (NOAH RITTER doesn't volunteer any other information.) JACK: So ... what did you find? (NOAH RITTER turns to THOMAS SHANNON and nods his head. THOMAS SHANNON gives his report.) THOMAS SHANNON: I followed Patrick for two months mostly in the San Diego area. He had a series of clandestine meetings with an individual. (Quick flashback to THOMAS SHANNON sitting in a car. He rolls down his window and watches as PATRICK SHANNON sits at the restaurant across the street with another man who is dressed in a business suit. PATRICK hands the man a large manila envelope.) JACK: (v.o.) And what did you suspect? (End of flashback. Resume to present.) NOAH RITTER: That he might be selling our research to the competition. Our investigation was not complete when he went missing. VIVIAN: Mr. Shannon, do you drive a green pickup truck? THOMAS SHANNON: No. VIVIAN: Did you speak to his wife at the San Diego apartment on the day he disappeared? THOMAS SHANNON: No. As soon as he left his place, I tailed him to the airport. JACK: So that was you at the bar? (Quick flashback to the airport bar. PATRICK KENT puts a couple of bills down on the table to pay for his drink.) THOMAS SHANNON: (v.o.) He had a couple of drinks stayed there about half an hour. PATRICK KENT: (to the bartender) Thanks a lot. (He gets up and leaves. Behind him, THOMAS SHANNON also stands and leaves. End of flashback. Resume to present.) JACK: And where did he go after the bar? THOMAS SHANNON: He checked in. Went to buy a newspaper. I didn't want to draw attention, so I boarded the plane. I figured he would, too. That's the last I ever saw of him. JACK: Right. (to NOAH RITTER) So, did you tell Katherine about the second wife? NOAH RITTER: How do you tell your daughter a thing like that? SAMANTHA: How could you not? NOAH RITTER: I wanted to have all the information first before I spoke to her. JACK: Did you find out who made that call from the conference room? NOAH RITTER: I'm sorry. Not yet. JACK: I'm getting the distinct impression that you don't want us to find your son-in-law. CORPORATE LAWYER: (interrupting) If the accusations are going to start then we're done here. JACK: If you impede this investigation again in any way, there'll be a lot more than accusations flying your way. (JACK looks at NOAH RITTER.) JACK: Understood? (NOAH RITTER looks back at JACK. Camera holds on NOAH RITTER.) CUT TO: SCENE #24: [INT. FBI - MISSING PERSONS UNIT -- DAY] (JACK, VIVIAN and SAMANTHA return to the main office.) JACK: He's afraid. He thinks we're on to something. SAMANTHA: I'm sure he's quaking in his boots. We got nothing on him, Jack. JACK: Yeah, well, that's going to change. Viv, I want you to use your resources at the SEC and get everything you can on him. VIVIAN: You really think Ritter was trying to off his own son-in law? JACK: Yeah, well, it wouldn't be the first time that a powerful man tried to get rid of somebody that was standing in his way. (They reach the conference table. JACK sits down. VIVIAN perches herself on the edge of her desk. SAMANTHA remains standing next to VIVIAN.) VIVIAN: If Shannon was telling the truth about the green pickup, there's a second guy following him. SAMANTHA: Which gives him twice the reason to chuck it all. All the walls were caving in, he took off. JACK: Yeah, but why would he run away from San Diego? From the one thing that was working in his life? CUT TO: [EXT. SAN DIEGO - BEACH - DAY] SCENE #25: [INT. KENT'S SAN DIEGO RESIDENCE -- DAY] (Scene opens on a photo of THOMAS SHANNON. AMALIA looks at the photo.) AMALIA KENT: Huh-uh, it's not him. It's been three days. Why can't I know what's happening? (MARTIN puts the photo away in his jacket pocket. ROBERT walks into the kitchen where everyone is standing. MARTIN looks up at DANNY. He nods.) DANNY: Hey, Robert, let's go for a walk on the beach. (DANNY takes ROBERT out.) MARTIN: Okay. Let's sit. (MARTIN sighs.) MARTIN: Your, uh ... your husband, Patrick, he's legally married to a woman who lives in New York. (This is hard news for AMALIA. She's in shock.) AMALIA KENT: What? Wh ...? What are you talking about? MARTIN: They've been married for fifteen years. AMALIA KENT: In New York? MARTIN: Yeah. AMALIA KENT: Well, who is it? Who? MARTIN: Well, I-I ... I-I can't share that information with you right now. uh ... (MARTIN sighs.) MARTIN: ... he's kept two separate lives-- one on each coast. (AMALIA looks at MARTIN. Her bottom lip starts to quiver as this is very hard for her to listen to.) AMALIA KENT: It's a lie. (MARTIN doesn't say anything.) AMALIA KENT: (crying) I don't believe it. (AMALIA stands up.) MARTIN: You know, I'm sorry, I wish it was, but ... AMALIA KENT: I want to be alone. CUT TO: SCENE #26: [EXT. SAN DIEGO - BEACH - DAY -- CONTINUOUS] (DANNY and ROBERT are walking on the beach. DANNY is holding ROBERT'S baseball glove.) DANNY: Wow. This glove's a real beaut. You know what you need to do? You need to put a ball inside you wrap it up, put it under your mattress then sleep on it. It'll break it in. ROBERT: Patrick does that for me. DANNY: Well, Patrick's a smart guy. You miss him, huh? (ROBERT nods.) DANNY: You know what I used to do when I was your age and I missed someone? ROBERT: What? DANNY: I used to lay in my bed at night and I used to look out the window and I'd stare up at the sky and I would name each of the stars after someone that I missed. (They stop walking near a swing set. DANNY turns to ROBERT and kneels down to look up at the boy.) DANNY: So whenever I felt lonely, I'd look up at the sky and I'd see Daniella, Erica and Andrea right there. It made it a little better. (MARTIN walks up. DANNY gives the glove back to ROBERT. ROBERT leaves.) (DANNY stands up. MARTIN takes off his glasses. They start walking along the beach.) DANNY: How'd she take it? MARTIN: She had no idea. How's he doing? DANNY: He's waiting for that loser to come back. It's not right, Martin. Show up one week in a month let a kid like that fall in love with you and then abandon him. MARTIN: We don't know he abandoned anyone. DANNY: He knew he could never come through for them. MARTIN: There's a lot of fathers who are around all the time that don't pay any attention to their kids. DANNY: You know what the worst part is? He's going to figure out that Patrick was a fraud. What do you think that's going to do to him? CUT TO: [EXT. NEW YORK CITY (STOCK) -- DAY] SCENE #27: [INT. FBI - MISSING PERSONS OFFICE - CONFERENCE ROOM -- DAY] LEGEND: 68.5 HOURS MISSING (VIVIAN is interviewing SEC AGENT GOLDIN in the Conference Room.) VIVIAN: We think the class-action lawsuit had something to do with Patrick Kent's disappearance. SEC AGENT GOLDIN: Well, the shareholders might be up in arms but if Ritter knew what Patrick Kent was really up to that could cause some ire. VIVIAN: Why is that? SEC AGENT GOLDIN: Because Patrick Kent came to us. He suspected there were SEC violations at R & A. VIVIAN: So, he was a whistle-blower? SEC AGENT GOLDIN: He was trying to be. I met with him at a restaurant in San Diego. The, uh ... Buoy. (Quick flashback to the meeting with SEC AGENT GOLDIN and PATRICK KENT at The Buoy in San Diego.) SEC AGENT GOLDIN: You'll get full immunity in exchange for your testimony. PATRICK KENT: And no one innocent gets screwed. SEC AGENT GOLDIN: Absolutely. What can you show me? (PATRICK hands the SEC AGENT the manila envelope.) PATRICK KENT: This is just the beginning. The rest comes later. SEC AGENT GOLDIN: (looking through the documents) This is good. It's very good. Okay, two things. First, the due diligence part. I need you to understand that this will not be easy. Your life, the one you've known for the past twenty years it won't be yours anymore. You'll lose friends, money ... maybe more. Is that clear? PATRICK KENT: And the second? SEC AGENT GOLDIN: Why are you doing this? PATRICK KENT: Because it's easier. SEC AGENT GOLDIN: Easier than what? PATRICK KENT: Then waking up every morning knowing your whole day is going to be a lie. (The SEC AGENT looks back down at the documents in front of him. End of flashback. Resume to present.) SEC AGENT GOLDIN: He was different. You know, most of these guys we have to hold a gun to their heads. Threaten fines, prison time. But he volunteered. Truth is without him, we don't have a case. He was supposed to meet with me the day after his disappearance to give me the rest of the documents. VIVIAN: That's probably why he was coming home early. Can I see what you have? (The SEC AGENT reaches into his briefcase and hands the file to VIVIAN.) SEC AGENT GOLDIN: You know, the wild thing is we just figured out Ritter had it rigged so Patrick Kent would take the fall for the lawsuit. VIVIAN: So that's why he blew the whistle? Tit for tat. SEC AGENT GOLDIN: No, uh, Patrick never knew about it. (VIVIAN is surprised by this. She turns to look at the SEC AGENT.) SEC AGENT GOLDIN: I guess he just wanted to do the right thing. CUT TO: [WHITEBOARD TIMELINE: PATRICK MEETS WITH SEC] SCENE #28: [INT. FBI - MISSING PERSONS UNIT -- DAY] (SAMANTHA is on the computer at her desk. JACK is perched on the desk in front of her, VIVIAN is standing behind her.) SAMANTHA: Whistle-blowing. That's plenty of motive for Noah Ritter. JACK: What do you think, Viv Go sweat Shannon. SAMANTHA: He'll never roll over. But I think Katherine might. (SAMANTHA turns to the computer and shares what she's found.) SAMANTHA: Listen to this: Voice mail left on Patrick's cell phone. Wife number one. JACK: The conference room? SAMANTHA: No. It was left two days after Patrick disappeared. (SAMANTHA plays the voice mail recording from her pc.) KATHERINE KENT: (recording) Patrick, I'm going out of my mind. I-I'm so sorry about all this. SAMANTHA: She's been drinking. KATHERINE KENT: (recording) The way he told me. That bastard calling me to his office like an employee. JACK: Shannon? KATHERINE KENT: (recording) I should've taken your side. (crying) I ... I hate him. I hate him so much. VIVIAN: Her father. KATHERINE KENT: (recording) I would've forgiven you, if you'd told me. If you only you'd only told me. (End of voice-mail recording.) JACK: She's been lying to us all along. SAMANTHA: She's been protecting her father. JACK: But from what? CUT TO: (WHITEBOARD Picture of PATRICK KENT.) FADE TO BLACK. (COMMERICLA SET) FADE IN. [EXT. NEW YORK CITY (STOCK) -- DAY] LEGEND: 72 HOURS MISSING SCENE #29: [INT. NEW YORK KENT RESIDENCE - LIVING ROOM -- DAY] (JACK and SAMANTHA are back at KATHERINE'S apartment questioning her.) JACK: You're a liar, Katherine. You've been lying to us from the beginning. You lied about Patrick's second wife in San Diego, you lied about the whistle blowing and you're lying to us again. KATHERINE KENT: I'm not. JACK: I think you are. SAMANTHA: (softly) Katherine ... if you want us to find your husband, we need your help. You have to tell us what you know. (KATHERINE starts crying.) KATHERINE KENT: Patrick came to me a few months ago, and ... he thought that there was fraud in the company and that father was behind it. I told him to let it go, but he wouldn't. JACK: So you told your father. KATHERINE KENT: I thought that they could work it out. SAMANTHA: You knew your father was having him followed. KATHERINE KENT: Not until that day. When he... "summoned" me to his office and put that man Shannon on the speaker phone. And he told me ... everything. SAMANTHA: It was you who called Patrick from the conference room the day he disappeared, wasn't it? KATHERINE KENT: I was so upset. CUE: CELL PHONE RINING (PRELAP TO) (Quick flashback of PATRICK walking through the airport and answering his cell phone.) PATRICK KENT: Patrick Kent. (INTERCUT WITH: KATHERINE in the Conference Room on the phone.) KATHERINE KENT: I know everything. I know about your California whore. PATRICK KENT: Katherine, calm down. KATHERINE KENT: Calm down? You have been lying to me for two years. Every day for two years. How could you do this to me? To Father? PATRICK KENT: Why don't you leave him out of this? For once. KATHERINE KENT: He gave you everything that you have. PATRICK KENT: Except you. I never got you. I'm sorry, Katherine. I didn't want it to end this way. (PATRICK hangs up; a dial tone sounds. NOAH RITTER appears in the doorway. KATHERINE slowly puts the phone away from her ear.) SAMANTHA: (v.o.) And now you're afraid your father had him killed. (End of flashback. Resume to present.) KATHERINE KENT: I don't know. I just wanted another chance. (KATHERINE starts to cry openly now. NOAH RITTER walks into the room.) NOAH RITTER: Katherine?! KATHERINE KENT: Stay away from me. (JACK stands up and puts himself between NOAH RITTER and KATHERINE who remains seated in her chair. NOAH RITTER tries to get past JACK, but JACK won't let him through.) NOAH RITTER: Katherine don't listen to them. JACK: Listen to me, you son of a bitch. Even your own daughter thinks you're involved with your son-in-law's disappearance. NOAH RITTER: Katherine ... JACK: Where's Patrick? NOAH RITTER: ... You come with me. KATHERINE KENT: Get him out of here. JACK: She wants nothing to do with you. (NOAH RITTER looks back at JACK who returns the look.) CUT TO: [WHITEBOARD: GETS CALL FROM WIFE AT AIRPORT] SCENE #30: [INT. FBI - MISSING PERSONS UNIT] (JACK walks up to SAMANTHA who is sitting at her desk. He fills her in on the latest.) JACK: Ritter passed the polygraph. SAMANTHA: You don't look surprised. JACK: I don't think he killed him. I think he wanted to. That's why he told Katherine about the second wife that day; he was preparing her. SAMANTHA: But then she called and Kent bolted out of the airport. JACK: What I don't get is why he didn't sprint back to the second wife. VIVIAN: Listen to this: (VIVIAN jumps up from her desk and approaches the two while holding an open file folder she was reviewing.) VIVIAN: That class-action suit lists thirty-seven plaintiffs who live in San Diego, but only one drives a green pickup. The second guy the one who came looking for Kent on the day that he disappeared the San Diego wife said that he was driving a green pickup. CUT TO: SCENE #31: [EXT. SAN DIEGO - ROADSIDE -- DAY] (A man exits a green pick up truck. He reaches the sidewalk when DANNY calls out to him while holding out his ID.) DANNY: Arlen Tompkins? FBI. (ARLEN TOMPKINS turns around. And immediately runs into MARTIN.) MARTIN: Whoa, whoa. SHORT TIME CUT TO: SCENE #32: [EXT. SAN DIEGO - ROADSIDE - DAY] (ARLEN TOMPKINS is sitting down on a low fence while DANNY and MARTIN question him.) ARLEN TOMPKINS: I lost everything. My whole life savings because of those Ritter guys. (DANNY sits next to ARLEN TOMPKINS.) DANNY: Hey, hey, slow down. How'd you meet Patrick Kent? ARLEN TOMPKINS: At a shareholder meeting in New York. A bunch of us were trying to get a class-action suit together. DANNY: And you wanted to kill him. ARLEN TOMPKINS: No. DANNY: No? ARLEN TOMPKINS: No. No, he was different from the rest of the R&A guys. He listened to me. He said he'd help. MARTIN: Why'd you go to his house on the day he disappeared? ARLEN TOMPKINS: I hadn't heard from him for a few weeks. I was getting frustrated. The lady there said he had gone to the airport. The weird thing is, as I was walking in, he was walking out. (Quick flashback to the airport. ARLEN TOMPKINS meets up with PATRICK KENT.) ARLEN TOMPKINS: Mr. Kent. Is there any progress in my case? (PATRICK holds up a hand and tries to get past ARLEN.) PATRICK KENT: I have to call you later I'm running late for a meeting. (ARLEN grabs PATRICK'S arm to stop him.) ARLEN TOMPKINS: You said that three weeks ago. PATRICK KENT: Let go of me. ARLEN TOMPKINS: You said you'd help. (End of flashback. Resume to present.) DANNY: That was it? You just watched him go? ARLEN TOMPKINS: No, I was pissed. I got in my car and I followed him when he drove away from the airport. I was trying to get him to pull over, but he started driving faster, he was pushing it. We were ... we were coming up on a bridge. I backed off ... but he was going too fast. He, uh ... he didn't have time to correct. MARTIN: And? ARLEN TOMPKINS: He ... he skidded out. The, uh ... the truck flipped and it went into the water. There was nothing I could do. Uh, his car, it, it just sank right to the bottom. DANNY: You ever hear of calling 9-1-1? ARLEN TOMPKINS: I ... I had been drinking. But who's going to believe me? I panicked and I left. He was the only one who listened to me. He was then only who cared about the truth. MARTIN: Let's go see this bridge. (MARTIN pulls ARLEN TOMPKINS up. DANNY stands up.) MARTIN: Come on. (MARTIN signals the two officers standing in front of the house #542.) MARTIN: Take him. CUT TO: SCENE #33: [EXT. RIVER BELOW BRIDGE -- DAY] (Officials get ready to lift the car out of the river.) [EXT. BRIDGE - DAY - CONTINUOUS] (Up on top of the bridge, MARTIN and DANNY watch what's happening down below.) AMALIA KENT: Oh, my god. (DANNY looks up and sees AMALIA and LUIS walking toward them. An officer stops them from getting on the bridge.) DANNY: (to the officer) She's okay. She's okay. (AMALIA pushes past the officer and walks toward DANNY.) AMALIA KENT: Did they find him? DANNY: The divers are working on it now. It's Patrick's car. (AMALIA starts to cry at the news.) CUE MUSIC: (acoustic guitar plays) (She watches from the side as they raise the car slowly out of the river. ROBERT is also there holding on to LUIS' hand.) LYRICS: ... and you / can bring me to my knees ... (AMALIA watches and cries. She looks at DANNY, turns and goes to her son. They both walk away from the bridge. ROBERT turns around to look at DANNY. DANNY raises his hand and waves. They walk away.) LYRICS: ... again / all the times / that I could beg you please / in vain / all the times that I felt insecure ... (LUIS watches the car being raised. He stops a moment, then turns and leaves also.) LYRICS: ... for you / and I leave ... (MARTIN walks up to DANNY.) MARTIN: Think she told him the truth? DANNY: I don't know. MARTIN: Think she should? DANNY: I'm thinking the kid doesn't need to know. (Behind them, the wrecked car is lifted higher than the bridge. DANNY puts his glasses back on and they both turn to look at the car.) LYRICS: ... I'm on the outside / I'm looking in / I can see through you / see your true colors... CUT TO: [EXT. NEW YORK CITY (STOCK) - DAY] SCENE #34: [INT. FBI - MISSING PERSONS UNIT -- DAY] (DANNY and MARTIN walk into the office. They're carrying their travel bags with them.) DANNY: ... A plane is not supposed to be in the sky. It's not natural ... MARTIN: Neither was that flight attendant and you weren't afraid of her. (SAMANTHA, on the phone, sees them. She puts a hand over the speaker and can't help but comment on the two men.) SAMANTHA: Well, if it isn't the "Bronze Boys". (MARTIN points a finger at her.) MARTIN: (smiling) Don't start. (DANNY puts his things down at his desk.) DANNY: Where's Jack? SAMANTHA: In his office. (DANNY looks up. SAMANTHA returns to her phone call.) CUT TO: SCENE #35: [INT. FBI - MISSING PERSON'S UNIT - JACK'S OFFICE - DAY -- CONTINUOUS] (JACK is sitting behind his desk. VIVIAN walks in. She takes a seat.) VIVIAN: Golden just called me from the SEC. He got a package this morning from Patrick Kent, sent from the airport on the day he disappeared. JACK: Enough to put Ritter away? VIVIAN: For a long time. (DANNY walks into the office.) DANNY: Vivalina. (VIVIAN smiles.) VIVIAN: Ah ... how'd it go with Mr. Fitzgerald? DANNY: Good, good. He took a little breaking in but he's a good guy. (DANNY takes a seat.) VIVIAN: Yeah. (VIVIAN stands and leaves. DANNY puts the paperwork in front of JACK. JACK puts his glasses on to look at it.) DANNY: I need you to sign this for me. JACK: So ... (clears throat) ... did the divers find the body? DANNY: Nope. The locals think the current carried it away. JACK: Pretty smart guy, Patrick Kent. You know, to be able to pull off this whole double life business and not get caught. Seems to me like he'd have an escape plan in case something went wrong. DANNY: It does, doesn't it? JACK: What's the, uh, what's the name of the witness who saw Patrick drive off the bridge? DANNY: Tompkins. Arlen Tompkins. JACK: Tompkins, right. Patrick was the one person who was helping him. Tompkins might feel like, uh, like he owed him a favor. DANNY: And taking the hit for leaving the scene of an accident isn't the hardest way for him to pay someone back. JACK: Yeah, that's pretty smart. If-if-if that's what happened. (DANNY nods his head thoughtfully.) DANNY: So you wouldn't be shocked if Amalia and Robert moved in six months? JACK: No. No. But then again, it was probably the current. DANNY: (smiling) Probably. (DANNY leaves.) LYRIC: ... I'm on the outside / and I'm looking in ... (JACK goes back to his paperwork.) CUT TO: SCENE #36: [INT. FBI - MISSING PERSONS UNIT - DAY -- CONTINUOUS] (DANNY walks out of the office and across the office toward the whiteboard.) LYRICS: ... I can see through you / see your true colors / inside you're ugly / you're ugly like me ... (DANNY reaches up and pulls the photograph down.) WHITE BOARD: 7A-NY 109361 "PATRICK KENT" (DANNY erases the whiteboard. Case closed.) FADE TO BLACK. ======================== THE END ======================== CUT TO: NARRATOR: (v.o.) If you’ve seen this real missing person, please contact your local FBI office or go online at www.fbi.gov MISSING: Name: SKY THOMAS GILBERT DOB: 02/06/1996 Missing: 04/03/2002 Age Now: 6 Sex: Male Height: 3'4" Weight: 40 lbs. Hair: Blonde Eyes: Blue Missing from: Bainbridge Island, Washington www.fbi.gov or contact your local FBI office. ======================== FADE TO BLACK. ======================== [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 1X06: SILENT PARTNER ORIGINAL AIR DATE ON CBS: 10/10/2002 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 ERICH ANDERSON as Patrick Kent ANGELA ALGARADO as Amalia (Kent) COLLEEN FLYNN as Katherine Kent TYLER GARCIA POSEY MICHAEL O'NEILL and PHILIP BAKER HALL Producer: JAN NASH Producer: GREG WALKER Producer: STEVE BEERS Co-Executive Producer: JACOB EPSTEIN Co-Executive Producer: HANK STEINBERG Executive Producer: ED REDLICH Written by GREG WALKER Directed by RANDY ZISK ======================== END CREDITS ======================== Executive Producer: JERRY BRUCKHEIMER 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 Editor: JOHN F. SHOWALTER Music by JOHNNY KLIMEK and REINHOLD HEIL Unit Production Manager: SCOTT WHITE First Assistant Director: LEIGH A. WEBB 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 LOU RICHARDS as Thompkins MATTHEW KAMINSKY as Goldin BENJAMIN BENITEZ as Luis DANIELLA KUHN as Elissa TARA KILLIAN as Paula JONATHAN GOLDSTEIN as Bartender JAMES INGERSOLL as Corporate Attorney KEITH PILLOW as Shareholder Technical Advisor: MARK LLEWELLYN Set Decorator: JEANNIE GUNN, S.D.S.A. Property Master: JOHN HARRINGTON Costume Designer: LUKE REICHLE Costume Supervisor: SUE BUB Make-up Artist: TINA ROESLER KERWIN Hairstylist: STEPHEN A. ELSBREE Production Sound Mixer: JAY PATTERSON, C.A.S. Gaffer: BRAD LIPSON Key Grip: TONY ANDERSON 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 Production #175855 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:12/14/2002~lky http://www.webphilia.com/~anthology/wnp.html