WITHOUT A TRACE 1X07: SNATCH BACK ORIGINAL AIR DATE ON CBS: 11/07/2002 TRANSCRIBED FROM CBS Written by STACY RUKEYSER Directed by LESLIE LIBMAN Transcript by Intrepid Courtesy of http://www.webphilia.com/~anthology/wnp.html Please do not archive without permission. (Zenith the Authority in HDTV) RATING: TV-PG-LV ========================== DISCLAIMER: ========================== "WITHOUT A TRACE" and other related entities are owned, (TM) and (c) by JERRY BRUCKHEIMER Television, CBS Productions, and Warner Bros. Television (an AOL Time Warner Company). All Rights Reserved. This transcript was made without their permission, approval, authorization or endorsement. Any reproduction, duplication or distribution of this material in any form is expressly prohibited. It is absolutely forbidden to use it for commercial gain. Leave the headers/disclaimers in tact because it lists all those who have made this transcript possible for your enjoyment and provide a link back to the site where this file originated http://www.webphilia.com/~anthology/wnp.html For corrections / inaccuracies, please contact the Transcriptionist at (intrepidly002@yahoo.com) ========================== SUMMARY: The Team is called in to investigate the disappearance of the Assistant District Attorney's three-year old daughter. ========================== WITHOUT A TRACE 1X07: SNATCH BACK ========================== COLD OPEN: [EXT. NEW YORK CITY (STOCK) - DAY] SCENE #01: [EXT. PLAYGROUND -- DAY] (A parent walks a child into the playground. In the sandbox are two little blonde-haired girls playing. Sitting on the bench on the side are their nannies.) MARIA: I told Consuela she shouldn't talk back not if she wants to keep her job. I don't care how nasty that woman is. ROSA: She makes Consuela pick out her clothes. Sexy, you know, for her husband? MARIA: It doesn't matter. It's about the baby, that's it, you know? (One of the little blonde-haired girls (ABBY BUCKMAN) runs out of the sandbox carrying her empty sippy cup. She hands the empty cup to MARIA and waits while she refills the cup for her.) MARIA: No more juice for you, baby girl. Too much sugar is no good. (She hands the cup to the little girl. The little girl runs back to the sandbox. The playground is busy.) (A friend of theirs walks up with a baby in a stroller. Both women stand up to look at and fawn over the baby.) MARIA: Iay, que bonita! Rosa, look! Oh, she's so little! ROSA: Oh, she's beautiful. (In the sandbox, the two little girls play.) (ROSA and MARIA smile and laugh at the baby in the stroller.) (Camera holds on the two little girls in the sandbox. A group of people walk in front of the camera. When they pass, the little girl on the left is missing from the sandbox.) CUT TO: SCENE #02: [EXT. PLAYGROUND -- DAY] (MARTIN questions ROSA. ROSA is sobbing and in tears.) MARTIN: Okay, I need you to calm down. Just try and tell me what happened from the beginning. ROSA: I don't know. I turned for one second. (Camera pans over and a reporter is on the sidewalk.) CAMERAMAN: Okay, we're rolling. DELIA RIVERS (REPORTER): A young child vanishes from a city park and an urban nightmare becomes a horrifying reality. It happened this morning. (Camera pans over to: VIVIAN fills JACK in on the details.) JACK: What do we have? VIVIAN: Abby Buckman, three years old. Her father's a professor at Columbia Law School. Her mother is Angela Buckman. JACK: Assistant District Attorney. I know her. VIVIAN: Right. (VIVIAN walks away. DELIA RIVERS, the reporter, walks up to JACK.) DELIA RIVERS: Hey. Going to be a big one, huh, Jack? JACK: Looks that way. DELIA RIVERS: You ready to give a statement? JACK: (shakes his head) Not yet. DELIA RIVERS: You'll call me when you are? JACK: Don't I always? (A police siren gets louder. DELIA RIVERS turns her head and sees a police car pull up. ANGELA BUCKMAN exits the vehicle.) DELIA RIVERS: It's going to be a circus. (DELIA RIVERS walks away and back to her camera. ANGELA BUCKMAN gets out of the car and into her husband's arms.) ANGELA BUCKMAN: God, what happened? MATTHEW BUCKMAN: I don't know, baby, I don't know. Come on. I just ... (ANGELA and MATTHEW BUCKMAN head to the center of the fray, under the police crime tape. The reporters are already clamoring and calling her name.) (JACK stands off to the side and watches them.) CUT TO: (Photograph of ABBY BUCKMAN is posted on the board.) HARD CUT TO: END OF TEASER ROLL TITLE CREDITS (COMMERCIAL SET) FADE IN. SCENE #03: [INT. FBI - MISSING PERSONS UNIT -- DAY] (SAMANTHA stands in front of a chain of photographs of the playground attached together to form one long photograph.) SAMANTHA: We put together a panorama of the playground. Aside from the fourth- graders we have a park's maintenance worker two other nannies, a single dad with his son and a hot dog vendor. So far, everyone checks out and no one saw a anything out of the ordinary. DANNY: And no one heard anything? I mean, you'd think a three-year-old would scream, right? JACK: Unless she was taken by someone she knew. How's the nanny check out? DANNY: Martin said she was pretty freaked out. I'm going to head over there and talk to her again. (DANNY folds up his file and leaves the table.) JACK: Okay. What about Abby's playmate? SAMANTHA: We got a kiddie shrink coming in see if we can get anything out of her. (SAMANTHA leaves the table.) (MARTIN appears carrying a thick stack of papers. He takes a seat at the table.) MARTIN: Well, I got a jump-start on the sicko angle. Six hundred and sixty- five registered sex offenders in Manhattan alone. JACK: All right, well, stick with that. This may not even be about the girl. MARTIN: Think it's about her mother? JACK: She's a Take-No-Prisoners D.A. She's made a lot of enemies over the years. MARTIN: Sounds like you've worked together before. JACK: At least a dozen times since '96. MARTIN: Well, that's good. Then she'll let us into her case files. JACK: With discretion. MARTIN: Right. (MARTIN takes his papers and leaves the table.) CUT TO: SCENE #04: [INT. FBI - MISSING PERSONS UNIT - DAY -- CONTINUOUS] (VIVIAN hangs up the phone. She joins SAMANTHA at the conference table. On the conference table is a map of the park area.) VIVIAN: Oh ... we have a sighting of a middle-aged man with a girl matching Abby's description here a 70-year-old woman with a mink stole with Abby here and a teenaged skinhead with Abby here. SAMANTHA: All right, the playground's got a single entrance here. No other way in or out. Whoever took Abby would most likely have had to go around here and exit here onto central park west. VIVIAN: Where there were cabs, subways, parked cars, fast getaways. SAMANTHA: Yeah. It's also possible they double-backed through the park itself along here. VIVIAN: Toward harlem. SAMANTHA: Wooded north end. Plenty of room to get lost. K-9's on it now. VIVIAN: Abby's a prime target for illegal adoption, you know. Black-market baby selling. Blond hair, blue eyes -- that is big bucks in that world. Some bastard offers candy or a lost puppy. Kid doesn't know what she's getting into. (JACK walks up to the conference table.) JACK: Viv, you want to come with me? Buckmans are back at their apartment. They've scheduled a press conference for noon. VIVIAN: Is she ready? JACK: Who knows? CUT TO: [EXT. NEW YORK CITY (STOCK) - DAY] LEGEND: 2 HOURS MISSING SCENE #05: [INT. BUCKMAN RESIDENCE -- DAY] (JACK interviews ANGELA BUCKMAN.) ANGELA BUCKMAN: She's so small, Jack, so little. I can still smell her in here. Her clothes. Her blanket. (Quick flashback to: ABBY BUCKMAN in a pink leotard and twirling slowly in the middle of the room.) ANGELA BUCKMAN: (v.o.) She's here, she's right here. (End of flashback. Resume to present. JACK: I know this is hard, Angela. I'm not even going to pretend to know what it feels like. ANGELA BUCKMAN: Listen, I need you to promise me something, okay? JACK: Okay. ANGELA BUCKMAN: You got to keep me in the loop. I know procedure. That could be difficult for you. JACK: I'll do what I can. ANGELA BUCKMAN: I'm glad you're here ... and it's you. So, uh ... what, uh, what do you need to know? (ANGELA stands up.) JACK: How long has Rosa worked for you? ANGELA BUCKMAN: Since the day Abby was born. JACK: And what do you know about her? ANGELA BUCKMAN: Well, I did a full background check before we hired her, of course. JACK: Is there anyone else we should be looking into? What's your docket like? ANGELA BUCKMAN: There's plenty of people who'd like a piece of me. JACK: Anyone stand out? Anything out of the ordinary? ANGELA BUCKMAN: You know, there was this guy last week. Gave me the creeps-- a lot more than usual. (Quick flashback to: ANGELA BUCKMAN walks out of the building and onto the sidewalk to greet her daughter in a stroller.) ANGELA BUCKMAN: Hello, pumpkin. How's my favorite girl in the world, huh? (to ROSA) How are you? Hi, Rosa. (Behind her, a man hurries up the sidewalk directly toward them.) MIKE FOLEY: Hey, you must think you're some real tough bitch, don't you? You put my brother away for 20 years for nothing. You got yourself a nanny, huh? My brother can't pay for a nanny from Dannemora Prison. He's got a kid he can't feed anymore since you put him away. You think about that when you're safe at home, bitch! (ANGELA BUCKMAN looks startled. End of flashback. Resume to present.) ANGELA BUCKMAN: That guy probably thought I knew exactly what he was talking about. He could have been referring to any one of a hundred cases. JACK: Well, we have your files. We'll look into it. (VIVIAN and MATTHEW BUCKMAN walk into the room. JACK stands up.) VIVIAN: Press are here. (JACK instructs ANGELA and MATTHEW BUCKMAN.) JACK: Okay. Here's what I need you to do. Make eye contact with the camera. Say Abby's name a lot and don't be afraid to be emotional. VIVIAN: We need to pick out one of Abby's photos before you go. JACK: And remember: The person that you're talking to has your daughter. SHORT TIME CUT TO: SCENE #06: [EXT. BUCKMAN RESIDENCE - DAY] (ANGELA BUCKMAN speaks to the press while holding a color photo of her daughter, ABBY BUCKMAN. Reports stand outside and cameras click as they take pictures of the distraught parents.) ANGELA BUCKMAN: (quietly) Abby's such a good little girl. She's such a sweet soul. We miss Abby desperately and we love Abby so much. And, sweetheart mommy's here, and ... I love you. We're going to get you home. And whoever took Abby, let me tell you, we will find you ... MATTHEW BUCKMAN: (interrupting) Abby, daddy's here, daddy loves you. Please, we just ... we just want to have you back. Thank you. DELIA RIVERS (REPORTER): One question -- do you think it could be somebody that you prosecuted? And do you blame the nanny? (DELIA RIVERS holds the microphone in front of ANGELA BUCKMAN. ANGELA doesn't say anything. MATTHEW BUCKMAN pulls her away.) MATTHEW BUCKMAN: Come on. (The crowd of reporters start to clamor. From the back, VIVIAN turns to JACK.) VIVIAN: Those tears were real and she kept eye contact with the camera. JACK: Notice how the husband kept looking at the ground? VIVIAN: (nods) Mm-hmm. I'll get him alone. (VIVIAN leaves JACK and heads for the residence.) CUT TO: SCENE #07: [INT. FBI - MISSING PERSONS UNIT -- DAY] (MARTIN leans against the conference table. His head is turned as he watches the press conference on television. In the back at the opposite end of the table, SAMANTHA also watches.) REPORTER (over tv): Ms. Buckman, a veteran prosecutor, appeared drained of emotion as she concluded a brief press conference just a few moments ago. A spokesman ... (SAMANTHA turns the television off.) SAMANTHA: I hate that we have to do that. MARTIN: Abby's face is plastered across every Trinitron in the city. That kind of publicity can't hurt. SAMANTHA: It's a tough bargain, 'cause either way their personal tragedy becomes "film at 11:00." MARTIN: Ah, they're just doing their job. SAMANTHA: Yeah, well after some ambitious reporter goes behind your back with an exclusive that blows your case, you might feel a little differently. MARTIN: We'll see. SAMANTHA: (smiling) Yes, you will. (MARTIN sighs. He stands and moves to look at the panoramic photo display of the playground. He leans against the table. SAMANTHA stands up next to him. She also looks at the photo.) MARTIN: You know what I can't get my head around? This little girl gets snatched from a crowded playground, and nobody sees it. SAMANTHA: Well, we've still got Jessie Stevens, Abby's playmate from the sandbox. MARTIN: I thought she wasn't giving us anything. SAMANTHA: Child psychologist is coming in to take a run at her. Maybe we get lucky. MARTIN: Ah, I hope so. SAMANTHA: So do I. (MARTIN walks away.) CUT TO: [EXT. NEW YORK CITY (STOCK) - DAY] SCENE #08: [INT. FBI - MISSING PERSONS UNIT -- DAY] (The CHILD PSYCHOLOGIST tries questioning JESSIE STEVENS. In front of her on the table are two blonde-haired dolls sitting in a large square made out of colored wooden blocks.) CHILD PSYCHOLOGIST: So, Jessie, you and Abby were at the playground and you were in the sandbox, right? (She picks up the dolls and puts them back down in the square of colored wooden blocks.) CHILD PSYCHOLOGIST: Well, where was Abby? Was she ... was she over here? (She picks up one of the dolls and puts it outside of the "sandbox".) CHILD PSYCHOLOGIST: All right, well, how about this? Was she over here? (She moves the doll to the other side of the "sandbox".) Jessie? I think she was right here, sitting next to you, right? (She puts the doll inside the "sandbox" next to the other doll.) CHILD PSYCHOLOGIST: And then, Abby went away. Right, Jessie? Where did she go? Where did she go, Jessie? Did someone take Abby? Did someone take Abby, Jessie? (JESSIE doesn't say anything.) CHILD PSYCHOLOGIST: You don't know? Okay. (She turns and looks over at SAMANTHA, JACK and VIVIAN.) CUT TO: SCENE #09: [EXT. -- DAY] (MARTIN talks to an FBI AGENT from the K-9 unit. He's handling a dog. MARTIN hands the clipboard he's looking at to the FBI AGENT. The FBI AGENT nods and leaves.) CUT TO: SCENE #10: [INT. FBI - MISSING PERSONS UNIT -- DAY] LEGEND: 4 HOURS MISSING (SAMANTHA interviews JESSIE'S mom, MAUREEN STEVENS.) SAMANTHA: I know Abby and Jessie play together but are you and the Buckmans close? MAUREEN STEVENS: We used to be. Angela and I met in the girls' Mommy and Me class. SAMANTHA: Used to be? What happened? MAUREEN STEVENS: Oh, I didn't mean anything by it. I just ... I told Angela that I didn't know how she did it all. You know, having Abby, working ... I guess she felt that I was judging her. SAMANTHA: You hit a nerve. MAUREEN STEVENS: I tried to apologize but Angela just refused to acknowledge that, you know anything was even wrong. So, we just drifted after that. SAMANTHA: What about their nanny? MAUREEN STEVENS: Oh, uh, well, as far as I know they've always been really happy with Rosa. In fact, it was Rosa who recommended Maria to us. SAMANTHA: (non-committally) Mmm ... MAUREEN STEVENS: You don't think Rosa could have been involved in this, do you? (SAMANTHA doesn't say anything.) CUT TO: SCENE #11: [EXT. SIDEWALK -- DAY] (DANNY interviews ROSA.) ROSA: She was right there and then she was just gone. DANNY: (nods) Can you think of anyone that might want to hurt her? ROSA: No. DANNY: Has anyone asked you anything about the Buckmans? (ROSA shakes her head.) (DANNY'S insistent.) Anybody following you? Anybody watching you? (ROSA shakes her head.) ROSA: No. My god. DANNY: Have you talked to anybody about the Buckmans? Maybe a boyfriend? ROSA: My whole world is that little girl. I've been with her since the day she was born. Her mother goes to work. I stay with her every day. DANNY: How about this morning? Did anything different happen this morning? ROSA: No. DANNY: Anything out of the ordinary? ROSA: No. Mrs. Buckman was running late, like usual. (Quick flashback to: Inside the BUCKMAN'S RESIDENCE, ANGELA BUCKMAN carries ABBY and hurries into the living room. ROSA stands on the side watching with an amused look on her face.) ANGELA BUCKMAN: Okay, here we go. (ABBY coughs. ANGELA is concerned.) ANGELA BUCKMAN: Oh, honey, are you okay? (ANGELA carries ABBY to ROSA.) ROSA: She just has a cold, Mrs. Buckman. I'll take care of it. No problem. ANGELA BUCKMAN: Oh, should we call Dr. Caine? (She hands ABBY to ROSA.) ROSA: Oh, it's nothing. Don't worry. Go. (ANGELA'S pager starts to beep.) ANGELA BUCKMAN: Oh, I'm due in court in a half an hour. Thank you, Rosa. I'll call you later. (to ABBY) Oh, sweetie. Bye, honey. Mommy loves you. (to ROSA) Bye-bye. Thanks. (ANGELA heads for the door. She turns around and sees ABBY playing with the stuffed animal trying to put it on ROSA'S head. They giggle with each other. ANGELA watches them longingly.) ANGELA BUCKMAN: Bye, honey. (After a moment, ABBY turns to look at her mom. ANGELA leaves. End of flashback. Resume to present.) DANNY: So you would say that Abby is closer to you than she is to Mrs. Buckman? ROSA: I would never say that. DANNY: Rosa, so you have any children of your own? ROSA: (starts crying) I feel so bad. So bad. It's all my fault. CUT TO: SCENE #12: [INT. BUCKMAN RESIDENCE -- DAY] (MATTHEW BUCKMAN sits on the sofa in front of the television set. VIVIAN pushes the door open and enters the room.) MAN: (man on tv): Larry's right. You got a judge shot in Texas, now this. Spend your whole life putting people away I guess it catches up with you. (MATTHEW BUCKMAN turns the television set off and throws the remote on the table in front of him.) MATTHEW BUCKMAN: It's odd seeing your own life turn into a sound bite. Pretty soon they'll be going after Angela blaming her for being a prosecutor instead of a mother. VIVIAN: Is there anyone else to blame? MATTHEW BUCKMAN: What do you mean? VIVIAN: You look very guilty, Mr. Buckman. Are you sure you're telling us everything? (VIVIAN sits down.) MATTHEW BUCKMAN: I did something ... so stupid. VIVIAN: Whatever it is, you need to tell me. MATTHEW BUCKMAN: Middle-aged law professor, awestruck co-ed. Such a cliché. VIVIAN: What was her name? MATTHEW BUCKMAN: Clarissa Walters. VIVIAN: And when was this? MATTHEW BUCKMAN: Three years ago. I came to my senses and I called it off right after Angela got pregnant. VIVIAN: And? MATTHEW BUCKMAN: Clarissa went crazy. She, uh, dropped out of school and started stalking me. Threatened to tell my wife. VIVIAN: But she didn't. MATTHEW BUCKMAN: No. I guess she got the point 'cause things died down. Then a few days ago it started up again. (Quick flashback to: MATTHEW BUCKMAN exits his building. CLARISSA WALTERS is on the sidewalk waiting for him.) CLARISSA WALTERS: Why won't you take my calls? MATTHEW BUCKMAN: You know why. (She puts a hand on his arm. He brushes it off.) CLARISSA WALTERS: It's not what you think. MATTHEW BUCKMAN: Don't touch me. My wife could be down here any minute. CLARISSA WALTERS: I am applying for reinstatement at the law school and I just need you to write me a recommendation. Please. I'm sorry for what happened. How I acted. But I am finally getting my life back together. MATTHEW BUCKMAN: I'm glad. CLARISSA WALTERS: I just need your help. MATTHEW BUCKMAN: I don't think it would be appropriate for me to write that letter. CLARISSA WALTERS: Why? MATTHEW BUCKMAN: I'm sorry, Clarissa. It's just not going to happen. I'm sorry. (MATTHEW BUCKMAN walks away. Camera holds on CLARISSA.) VIVIAN: (v.o.) Did the calls continue after that? (End of flashback. Resume to present.) MATTHEW BUCKMAN: No. VIVIAN: Did you ever know Ms. Walters to display any violent behavior? MATTHEW BUCKMAN: No, but, still ... I'm worried. I mean, I'm hoping that I'm crazy for even thinking it. VIVIAN: Well, we'll look into it. (VIVIAN stands.) Thank you for being honest. MATTHEW BUCKMAN: You will use discretion? I mean, obviously ... Angela doesn't know anything about this. VIVIAN: Of course. CUT TO: SCENE #13: [INT. FBI - MISSING PERSONS UNIT -- DAY] LEGEND: 5 HOURS MISSING (MARTIN reports to SAMANTHA and JACK.) MARTIN: A K-9 unit found Abby's shoe up here on 116th right near the tennis courts. You were right. They had to have cut through the park heading uptown. JACK: If they keep walking they're within a half a mile of Columbia Law school. MARTIN: Think it's the father? SAMANTHA: Or the mistress. Vivian said he was having an affair with a student. She may have the motive. (JACK'S phone rings. He reaches to answer it.) JACK: Just because a woman's having an affair with a married man doesn't make her a criminal. MARTIN: Except when it does. (SAMANTHA looks at MARTIN.) JACK: (to phone) Hello. (pause) No, no, no. Give him the number. Yeah, we'll put a trace on it. (He hangs up.) We're getting a ransom call. (SAMANTHA looks at JACK. MARTIN stands up.) CUE SOUND: (PRELAP) PHONE RING CUT TO: SCENE #14: [INT. BUCKMAN RESIDENCE -- DAY] (MATTHEW and ANGELA sit on the sofa. ANGELA answers the phone.) ANGELA BUCKMAN: Hello. VOICE: (Distorted low voice) Put $150,000 in unmarked bills in the red dumpster behind Luigi's on second avenue, 9:00 tonight. No police, or she's dead. You asked for it. ANGELA BUCKMAN: Fine; whatever you want. Just, just don't hurt my baby. (The person hangs up.) ANGELA BUCKMAN: (to phone) Hello. Hello. JACK: Did we get a trace on it? (The AGENT shakes his head. Camera holds on ANGELA BUCKMAN, distraught.) FADE TO BLACK. (COMMERCIAL SET) FADE IN. [EXT. NEW YORK CITY (STOCK) - DAY] SCENE #15: [INT. FBI - MISSING PERSONS UNIT -- DAY] LEGEND: 6 HOURS MISSING (Back at the office, the Technician replays the recording of the ransom call for the Team.) VOICE: (distorted low voice) Put $150,000 in unmarked bills in the red dumpster behind Luigi's on second avenue, 9:00 tonight. No police, or she's dead. You asked for it. MARTIN: "You asked for it." Sounds personal. JACK: Or they want us to think that. DANNY: That sounds like a cheap voice distorter. This guy's an amateur. VIVIAN: Unmarked bills a dumpster-- it's stuff he learned from watching too much tv. JACK: Let's talk suspects. (VIVIAN points to the Whiteboard where a picture of CLARISSA WALTERS hangs.) VIVIAN: Okay, Clarissa Walters -- uh, Mr. Buckman's stalker. She took the baby for revenge. With a voice distorter, it could be a woman. JACK: Okay, run with that. (VIVIAN leaves.) DANNY: I'm thinking the nanny with an accomplice. JACK: Motive? DANNY: INS says that her mom's VISA ran out and 150k would certainly help keep her in the country. JACK: What are you thinking? DANNY: I'm thinking we talk to the other nanny first, then we go back and talk to Rosa. SAMANTHA: I'll cross-check everyone in the park against the location of the ransom drop. JACK: Okay. (SAMANTHA leaves.) MARTIN: It's incomplete, but I got some possibles on the guy who threatened Angela. JACK: We have to talk to her about the drop-off. Let's see if she can make a positive I.D. CUT TO: SCENE #16: [INT. BUCKMAN RESIDENCE -- DAY] (JACK and MARTIN go over the ransom with MATTHEW and ANGELA BUCKMAN.) MATTHEW BUCKMAN: We have the money, but I don't know if we can get it together by tonight. JACK: It's okay; we have a long-standing ransom agreement with two New York banks. We can have the money within hours. ANGELA BUCKMAN: He said unmarked bills. JACK: The money is unmarked. There's other ways of tracking it. ANGELA BUCKMAN: What are you going to do -- follow him, take him down at the drop? JACK: Angela, you have to trust us. We've been doing this a long time. (JACK looks at MARTIN and motions for him to show ANGELA the files. MARTIN takes out the files and kneels down to show them to ANGELA.) MARTIN: Uh, these are the brothers of all the men that you've sent to Dannemora in the last year. ANGELA BUCKMAN: I don't know. I see so many faces every day. MARTIN: It's okay; take your time. (ANGELA looks through the photos and files and pulls one out.) ANGELA BUCKMAN: That's him. MARTIN: Are you sure? ANGELA BUCKMAN: Yeah, I'm positive. MARTIN: Name's Mike Foley. I'll check it out. ANGELA BUCKMAN: His brother's John Foley. Life sentence. I remember him. JACK: What was the charge? ANGELA BUCKMAN: Felony possession. I could have plea bargained it down to misdemeanor but he was dealing near a school. (ANGELA sighs.) CUT TO: SCENE #17: [EXT. UNIVERSITY LAW SCHOOL -- DAY] LEGEND: 8 HOURS MISSING (VIVIAN questions CLARISSA WALTERS.) CLARISSA WALTERS: He said that. Is he crazy? If I told the university Matthew had an affair with one of his students, he'd be fired in a heartbeat. I've been protecting him. VIVIAN: Then why did you ask him for a recommendation? CLARISSA WALTERS: Do you know how hard it is to get back in law school? VIVIAN: You could have asked any of your other professors. CLARISSA WALTERS: I did but he was my advisor. His was the most important. VIVIAN: So, why didn't you write a letter, send an e-mail? CLARISSA WALTERS: I don't know. Didn't seem like a big deal to pick up the phone. VIVIAN: You wanted to talk to him. CLARISSA WALTERS: Maybe in the back of my mind ... I wanted to hear his voice. VIVIAN: But you didn't have to go over to his apartment to see him. CLARISSA WALTERS: No, I didn't. But at that point, I was very frustrated. I was a good student. I thought it was the least he could do after the way he treated me. VIVIAN: Sounds like you're not so over him Ms. Walters. Where were you this morning at 10:00? CLARISSA WALTERS: "C" level of the library. VIVIAN: Anyone see you there? CLARISSA WALTERS: I wasn't hiding. VIVIAN: Thank you. CUT TO: [EXT. NEW YORK CITY (STOCK) - DAY] SCENE #18: [EXT -- DAY] (DANNY interviews MARIA, JESSIE'S nanny.) MARIA: Rosa does more for that baby than her own mother does. DANNY: Sure. MARIA: Mrs. Buckman, she knows nothing. Abby is allergic to tomatoes, but Rosa she has to tell her this. DANNY: She's a working mother. MARIA: Oh, she's a very intelligent, important woman, but as a mother? DANNY: Mrs. Buckman's probably too busy to realize that Rosa is going through hell with her own mother. MARIA: Mmm. That poor girl. (Quick flashback to: ROSA and MARIA push the children in their strollers and walk along the sidewalk.) ROSA: INS -- they came banging on the door 6:00 this morning. MARIA: My god. ROSA: I'm so scared. Mi madre, she's so old. If she goes back, I'll never see her again. I don't know what to do. MARIA: Oh, I tell you what to do. You talk to Mrs. Buckman. You tell her what happened. She knows people -- people in the government. She knows who to call; she can help you. ROSA: I already ask her; she said no. MARIA: How could she say no after everything you do for her? ROSA: I don't know. She said it would compromise her. (End of flashback. Resume to present.) MARIA: No favors, that's what Mrs. Buckman did for Rosa. No favors. DANNY: Rosa must have been pretty angry, huh? (DANNY takes a sip of his coffee. This startles MARIA. She turns to look at DANNY.) MARIA: (nervously) Oh, no, no. She respects Mrs. Buckman. I don't think she ever really ask her for help. CUT TO: SCENE #19: [INT. FBI - HALLWAY -- DAY] (DANNY escorts ROSA to the offices.) ROSA: I would never hurt Abby. Please, I don't know where she is. I miss that baby so much. DANNY: Are you willing to take a polygraph? ROSA: A what? DANNY: A lie detector. It's a test we use to see if you're telling the truth. ROSA: I am. Please, whatever you want. I swear on my life. CUT TO: SCENE #20: [INT. FBI - MISSING PERSONS UNIT -- DAY] (VIVIAN and MARTIN sit at their desks.) MARTIN: Danny's polygraphing the nanny. Sounds like she has a good motive. VIVIAN: People like her come to this country and work three jobs to make ends meet. They don't steal babies. MARTIN: You know how long it would take her to make 150 grand? VIVIAN: A lifetime. MARTIN: Maybe we do have a disgruntled employee on our hands. VIVIAN: She works twelve hours a day ten bucks an hour changing dirty diapers. I'm sure she's disgruntled but not enough to orchestrate a kidnapping. MARTIN: All right, what about the mistress? VIVIAN: (chuckling) now we're talking disgruntled. (MARTIN turns to look at the television set. On it is a video of ABBY BUCKMAN playing with a dog. The caption reads: "Abby Buckman" and "Missing Girl" on station "6WBJH".) CUT TO: SCENE #21: [INT. FBI - JACK'S OFFICE -- DAY] (MARTIN fills JACK and SAMANTHA in.) DELIA RIVERS: (on tv) The authorities refused to comment on possible suspects. As the search continues every working mother has to ask... MARTIN: All right, Mike Foley-- the guy who threatened Angela -- he's a cabbie. Turned his ride into dispatch at noon today. Said he had a family emergency. He was going to be gone for a few days. So, we checked his apartment, family and friends. Looks like he skipped town. JACK: See if we can find him. MARTIN: All right. (MARTIN leaves the office.) JACK: An hour and a half till the drop-off. We got to get going. (JACK stands to leave the office. SAMANTHA follows.) SAMANTHA: So far, no one who was at the park ties to the ransom location. JACK: Is the alley secure? SAMANTHA: Yeah, it's set. NYPD's got the perimeter. JACK: Great. CUT TO: SCENE #22: [EXT. ALLEY BEHIND LUIGI'S -- NIGHT] LEGEND: 11 HOURS MISSING (SAMANTHA takes a step back into the alley shadows.) SAMANTHA: (to mic) Nothing but the rats and the roaches. (DANNY stands against the wall.) DANNY: At least you got company. [INT. THE CAR] JACK: How's Angela? VIVIAN: Watching too much tv. JACK: So I've been hearing. Someone declared open season on working mothers. (VIVIAN nods. JACK looks at VIVIAN. She finally responds.) VIVIAN: I think Reggie's only benefited from my working. JACK: He's a good kid. Whatever you did with him, you ought to bottle it. DANNY: (over mic) I think we got something. (Cut to: SAMANTHA kneels in her spot. She watches as a couple of restaurant workers throws trash in the trash bin.) (They open the bin and one of the workers finds the ransom bag. He takes it out of the trash bin and shows it to his co-worker.) JACK: (to mic) Oh, please. Danny, get rid of them. (DANNY takes out his ear piece and tucks it into his shirt. He moves from his spot and approaches the two restaurant workers who have opened the bag and start pocketing the money inside.) DANNY: Hey. Hey, you want to live to see tomorrow? Don't be playing with my livelihood, you got me? (DANNY lifts his shirt and shows the workers his gun. He pushes them aside and grabs the bag from them. The workers leave. DANNY puts the bag back in the trash bin.) (He heads back to his spot.) JACK: (to mic) Nice work, Serpico. DANNY: (to mic) I grew up on Pacino. (The alleyway grows quiet once again.) (The door opens and a man walks out. He goes directly to the trash bin and starts to open it.) (The man looks up and sees JACK get out of the car. He closes the bin and starts running.) SAMANTHA: (yelling) FBI -- stop! (SAMANTHA heads the man off. DANNY runs to catch up, his weapon out. SAMANTHA tackles the man.) DANNY: (shouting) FBI! Freeze! SAMANTHA: Where is she?! MAN: Don't shoot me! Don't shoot me, please! Don't shoot! I don't know anything. (SAMANTHA starts to cuff the man.) JACK: Where's the child? MAN: I-I don't have her. I-I don't have her! I-I-I never did. (DANNY looks at JACK. Camera holds on JACK.) FADE OUT. (COMMERCIAL SET) FADE IN. [EXT. NEW YORK CITY (STOCK) - DAY] LEGEND: 23 HOURS MISSING SCENE #23: [INT. FBI - MISSING PERSONS UNIT -- DAY] (JACK questions the MAN from the alleyway.) MAN: I didn't take the kid. I swear to god, I don't have a thing to do with it. I saw it on the news no one was asking for a ransom so I thought I would. I figured it'd be easy money. JACK: Easy money. Didn't occur to you that we'd be all over this? MAN: I told her not to call the police. (For a moment, JACK smiles slightly.) JACK: You are hands down the biggest idiot I've ever met. MAN: Am I being charged with something? JACK: Oh, you'd better believe it, Sparky. How about obstruction of justice and extortion to start with? (The door opens and an AGENT sticks his head in.) AGENT: Delia Rivers is here. (JACK stands up and heads out the door.) JACK: Do me a favor and take Einstein here down to the pen. CUT TO: SCENE #24: [INT. FBI - HALLWAY -- CONTINUOUS] (As JACK walks through the Hallway, DANNY and MARTIN walk out from the office to catch him.) DANNY: Jack, we got something. MARTIN: 9-X tracked the roaming signal on Mike Foley's cell phone. He's in Atlantic City. DANNY: We called the locals, but we were thinking it would be a good idea if we took the chopper. JACK: Okay, go ahead. I'll set it up. (DANNY pulls back and looks at MARTIN. He nods.) CUT TO: SCENE #25: [INT. FBI - JACK'S OFFICE - DAY -- CONTINUOUS] (JACK walks into the office.) DELIA RIVERS: I'm about to make your day. (She clears her throat and hands him an envelope. They both sit down.) DELIA RIVERS: I got a call from the yearbook photographer at St. Bernard's. He was in the park yesterday morning shooting candids of the fourth grade at recess. (JACK pulls the photos out of the envelope and look through them.) JACK: This is Abby. DELIA RIVERS: Yes, it is. He thought she was cute so he snapped a couple of extra shots for his book. JACK: These must have been taken just before she disappeared. DELIA RIVERS: Looks that way. JACK: And he brought them to you because the network pays more than the police. DELIA RIVERS: We won't run them until you give me the go-ahead. All I'm saying is when it's appropriate and when it doesn't endanger your investigation, I wouldn't mind an exclusive. JACK: Thank you. Thank you. (JACK looks at DELIA RIVERS.) CUT TO: [EXT. ATLANTICE CITY (STOCK) - DAY] LEGEND: ATLANTIC CITY 24 HOURS MISSING SCENE #26: [EXT./INT. MOTEL ROOM -- DAY] (MARTIN finishes talking with the OFFICER.) MARTIN: Absolutely. DANNY: Okay, thanks. MARTIN: (to DANNY) All right, Foley checked in last night. We got a baby seat in the car. (Inside, through the door, a child screeches. MARTIN and DANNY draw their weapons. They flank the door. MARTIN counts. DANNY kicks the door in.) DANNY: FBI! MIKE FOLEY: (yelling) Hey, what the hell is this?! (DANNY stands in front of MIKE FOLEY. MARTIN heads into the motel room to look for the girl. A woman in her underwear stands in the bathroom, her hands up.) DANNY: Where's the girl? MARTIN: Get your hands up! FBI! Keep your hands where I can see them! Where's the girl? DANNY: Give us the girl! (MARTIN tucks his weapon away. Inside the bathroom area, a little girl walks out. He holds out his hand.) MARTIN: Come here, honey. It's okay. It's okay. CUT TO: SCENE #27: [INT. MOTEL ROOM -- DAY] (MARTIN and DANNY question MIKE FOLEY.) MIKE FOLEY: I knew I'd be a suspect as soon as I heard it on the news. MARTIN: Why is that? MIKE FOLEY: Standing outside the courthouse yelling at her one week before her kid goes missing? If I were a cop, I'd look for me. Come on. What am I going to do? Hold the kid hostage until Mrs. Buckman lets my brother out of prison? DANNY: She messes with your family, you mess with hers. MIKE FOLEY: Look, this is exactly why I took off. I didn't want to spend the weekend in lockup while you guys figured out I wasn't involved. MARTIN: You thought the whole thing would just blow over? MIKE FOLEY: Look, I take my girl to Atlantic City you guys find the kid I come home with an extra "G" in my pocket. Thank you, lady luck. DANNY: Well, you just ran out of luck. Go ahead and get dressed. (MARTIN throws MIKE FOLEY his pants.) CUT TO: SCENE #28: [INT. FBI - MISSING PERSONS UNIT -- DAY] (The photographer's pictures are strategically pinned to the panoramic photograph of the playground. SAMANTHA, JACK and VIVIAN review the photos.) SAMANTHA: Here's what the yearbook photographer's pictures get us. Abby's here with the nannies and it looks like she's asking them for juice. JACK: Enter the third nanny the one that Rosa and Maria told us about. And here they are, huddled over the stroller. SAMANTHA: Right, but their backs are turned which is probably when the kidnapper strikes. JACK: Right. (SAMANTHA points out a particular photo.) SAMANTHA: Look at this. It's kind of flared, but it's ... VIVIAN: ... it's a woman. JACK: She's pushing a stroller but that doesn't necessarily mean there's a baby in there. SAMANTHA: No one told us about her. Who the hell is she? JACK: Is it Clarissa? VIVIAN: Could be. She tried to contact Matthew earlier this week, but he rejected her. JACK: Her alibi is unsubstantiated. I think it's worth bringing her in. SAMANTHA: All right. I'll go get her. (SAMANTHA stands up and leaves the conference table. VIVIAN exhales.) VIVIAN: Are you going to tell Angela about the affair? JACK: I don't think we have enough information to potentially ruin a marriage. VIVIAN: Angela is beating herself up because she thinks it's her fault because of her job. Meanwhile, he's got this secret he's not telling her. If it were you, you'd want to know. JACK: Okay. But at least give Matthew the chance to tell her himself. CUT TO: [EXT. NEW YORK CITY (STOCK) - DAY] SCENE #29: [INT. BUCKMAN'S RESIDENCE - ABBY'S BEDROOM DOORWAY -- DAY] (VIVIAN talks with MATTHEW BUCKMAN.) MATTHEW BUCKMAN: You really think it might've been her? VIVIAN: Unfortunately, it's a possibility. MATTHEW BUCKMAN: Oh, my god. This is all my fault. VIVIAN: I wouldn't go there yet. But I do think you need to tell your wife. (He nods his head.) CUT TO: [EXT. NEW YORK CITY (STOCK) - DAY] LEGEND: 26 HOURS MISSING SCENE #30: [INT. FBI - JACK'S OFFICE -- DAY] JACK: Please take a seat. (JACK holds out the chair for CLARISSA WALTERS. She takes off her bag and sits.) CLARISSA WALTERS: You people are unbelievable. What do you want from me? (JACK sits at his desk.) JACK: Look, um, Clarissa, right? I know that this is a waste of your time, but I really need your help. I'm trying to build a profile on Matthew so I need to find out about his friends, his work his relationship with his wife and anything you could tell me would be helpful. CLARISSA WALTERS: Well ... Matthew never really got what he needed from his wife. JACK: Why? CLARISSA WALTERS: She's a complete workaholic, and, frankly, a bit cold. JACK: Mm-hmm. CLARISSA WALTERS: I'm sure she could sense he was pulling away. You know? I'm not saying that she got pregnant on purpose, but ... JACK: But what? What happened? CLARISSA WALTERS: He's an honest, loyal man. Unfortunately. JACK: How so? CLARISSA WALTERS: There was never any question he was going to be there for that child. JACK: Right. CLARISSA WALTERS: So we make sacrifices ... and we move on. It's sad, actually. I think Matthew and I could've been very happy together. JACK: Really? You painted a very different picture when you talked to Agent Johnson. CLARISSA WALTERS: Well, I'm ambivalent about it. I guess I'm just being more generous today. JACK: Right. Well, that makes ... that makes perfect sense. Thank you Clarissa, for your help today. (She scoffs and stands up.) CLARISSA WALTERS: Well, you're welcome. I don't really know how I helped you. (She heads out the door. JACK stops her.) JACK: You wouldn't mind taking a polygraph test, would you? I mean, just as a formality. CLARISSA WALTERS: You people are disgusting. CUT TO: SCENE #31: [INT. BUCKMAN'S RESIDENCE -- DAY] (ANGELA BUCKMAN sits at the coffee table looking through the files. The television set is on.) TV ANNOUNCER: (on tv) It's been 27 hours, Delia and still nothing. DELIA RIVERS: (on tv) So the question remains, if Angela Buckman's work as Assistant District Attorney has come back to haunt her. (Just outside the room lingering in the doorway are VIVIAN and MATTHEW BUCKMAN.) VIVIAN: (to MATTHEW BUCKMAN) Just tell her the truth. (ANGELA turns the tv off, closes the file in front of her and stands. She approaches VIVIAN.) ANGELA BUCKMAN: Uh, well, I went back through my case files. This is everything since '93. Parole, probation, anybody that might have a grudge against me. VIVIAN: Thank you. ANGELA BUCKMAN: What about Foley? VIVIAN: We checked his meter and logs ... his alibi checked out. You know this may have nothing to do with your work. ANGELA BUCKMAN: Well, it doesn't matter. I'm already the poster child for the career woman who neglects her family. VIVIAN: You start buying IO that crap, we're all in trouble. CUT TO: SCENE #32: [INT. FBI - MISSING PERSONS UNIT -- DAY] (SAMANTHA stands in front of the photographs. JACK approaches her. She sticks the particular photo on the wall.) SAMANTHA: Nobody seems to remember our mystery woman from the park. How did Clarissa do on her polygraph? JACK: She passed. SAMANTHA: Did Matthew drop the bomb on Angela? JACK: As we speak. SAMANTHA: It's been 28 hours, Jack. JACK: I know. I mean, we're doing everything right t we're still at a dead- end. SAMANTHA: I just can't help thinking that the answers are in this park. All right, let's lay it out, okay? They stroll into the park, side-by-side. (Quick flashback to: The two nannies push the two strollers side by side as they enter the park. End of flashback. Resume to present.) SAMANTHA: And we know that right before Abby was taken she went to Maria, the other girl's nanny to get a glass of water. (Quick flashback to: ABBY BUCKMAN hands her empty sippy cup to MARIA who smiles and uncaps it as she refills it.) MARIA: No more juice for you, baby girl. Too much sugar. It's no good. (End of flashback. Resume to present.) JACK: Okay. So, let's say that our mystery woman ... she moves towards them. (Quick flashback to: MYSTERY WOMAN'S POV as she approaches the sandbox where the two girls are playing.) JACK: (v.o.) She's been watching. Waiting for her chance. There are two little girls dressed the same ... they look the same. (End of flashback. Resume to present.) SAMANTHA: Maybe she can't tell them apart. Maybe ... (Quick flashback to: MYSTERY WOMAN'S POV as she looks from one girl to the other.) SAMANTHA: (v.o.) She's standing there, she's got to make her move. (End of flashback. Resume to present.) SAMANTHA: Maybe she took the wrong kid. (JACK doesn't say anything. Camera holds on SAMANTHA.) FADE OUT. (COMMERCIAL SET) FADE IN. SCENE #33: [INT. FBI - MISSING PERSONS UNIT -- DAY] (JACK pulls the photo off of the wall. He looks at it.) DANNY: Here's what I got on the other girl's family. Dad's a surgeon, Jeffrey Stevens. Stable career and no financial improprieties. No debt. JACK: What about the wife? DANNY: No red flags. (SAMANTHA gets off of the phone. She turns to them.) SAMANTHA: Listen to this. I got their daughter's birth certificate. Born at Mt. Sinai hospital, October 19, 1999. Maureen Stevens is the mother on the birth certificate, but the hospital says Maureen was never admitted. No medical records for her there at all. DANNY: Forged birth certificate? Or illegal adoption? JACK: Or a surrogate. DANNY: The surrogate's name is never on the birth certificate. JACK: Let's bring in Mr. and Mrs. Stevens. (JACK leaves the office. DANNY picks up the phone.) CUT TO: SCENE #34: [INT. FBI - MISSING PERSONS UNIT -- DAY] JACK: Thank you for coming in. I have to ask you a few questions about your daughter. JEFFREY STEVENS: You really think she may have been the target? JACK: Yes. Is your daughter adopted? MAUREEN STEVENS: No. JACK: Was she carried by a surrogate mother? MAUREEN STEVENS: Yes. Why? JACK: What was the mother's name? JEFFREY STEVENS: Zoe Heinrich. MAUREEN STEVENS: But this doesn't make any sense. I mean, we've never had a problem with Zoe. (JACK shows MAUREEN STEVENS the flared photograph.) JACK: Do you think this could be her? MAUREEN STEVENS: Maybe, hmm ... but this has been all over the news. I mean, doesn't she know she has the wrong child? JACK: Well, it might not matter at this point. She has the baby, and all she wants to be is a mother. (JEFFREY turns to look at his wife, MAUREEN.) CUT TO: SCENE #35: [EXT. RESIDENCE -- NIGHT] LEGEND: RAHWAY, NEW JERSEY (MARTIN walks up the porch to a house. He knocks on the door. The door opens. He shows his ID to ERIC.) MARTIN: FBI. I'm looking for Zoe Heinrich. ERIC: You and me both. MARTIN: You mind if we come in? ERIC: No. (ERIC opens the door wider for MARTIN. MARTIN motions for two other AGENTS to follow him inside.) CUT TO: SCENE #36: [INT. RESIDENCE -- NIGHT] (MARTIN questions ERIC, ZOE HEINRICH'S boyfriend.) ERIC: We've been going out about a year. MARTIN: Did you know that Zoe had been a surrogate mother? ERIC: Sure. Yeah, she told me right off. She was proud of it. Felt she was following a higher purpose is how she put it. MARTIN: So, did she ever talk about the baby? ERIC: Not till we lost our own. Zoe had a miscarriage about three months ago. MARTIN: She must've taken it pretty hard, I bet. ERIC: We both did. But she didn't seem to get over it. MARTIN: How so? ERIC: Sometimes we'd be talking, and she'd sort of drift off. I'd find her sitting alone, just crying. I came home one night and found her passed out on the floor -- pills. I got her to the hospital just in time. Then after Zoe woke up, things were even worse. She kept saying that she'd committed such a sin giving up that first baby that she needed God to forgive her. MARTIN: So she's pretty religious? ERIC: We both are. Our faith's what held us together. MARTIN: Eric, do you have any idea where she may have gone? ERIC: No. She's got no family, no money. (An AGENT walks into the room carrying a gun case. She gives it to MARTIN.) AGENT: Agent Fitzgerald. ERIC: That's a .38. There's been some break-ins in the area. I have a license. MARTIN: Can we take a look? ERIC: Of course. (ERIC unlocks the box. MARTIN opens it. The box is empty.) ERIC: (alarmed) She must've taken it. CUT TO: [EXT. NEW YORK CITY (STOCK) - NIGHT] SCENE #37: [INT. FBI - MISSING PERSONS UNIT -- NIGHT] LEGEND: 34 HOURS MISSING DANNY: I ran Zoe's credit card. She's been in New York two weeks. JACK: She's probably stalking the Stevens. DANNY: Yeah, and there was a big purchase at the baby center the day before the kidnapping. JACK: Let me guess-- a stroller, right? DANNY: And a car seat and some baby clothes. VIVIAN: At least she's planning on looking after the baby. DANNY: And 90 minutes ago, she bought a new pair of kid's shoes at a mall in Westfield. VIVIAN: Where is she going? JACK: Away from the city, that's for sure. DANNY: Well, my guess is that she hopped back on the turnpike and headed south. She's driving slow 'cause she doesn't want to get pulled over. So depending on the traffic she's somewhere between here and Philly. JACK: Okay. Call the Pennsylvania office. Make sure they've got checkpoints set up on the Walt Whitman and the Ben Franklin bridges. DANNY: Got it. (DANNY leaves the room.) VIVIAN: What if she doesn't keep going? What if she gets off and tries to hide? JACK: Well, according to Martin the boyfriend said they were very religious so maybe she's looking for refuge. VIVIAN: There's about a thousand churches in that area. JACK: Let's start making the calls. (JACK closes the file in front of him and stands.) CUT TO: SCENE #38: [INT. FBI - MISSING PERSONS UNIT -- DAY] (The camera pans around the conference table where everyone is on their telephone speaking with someone different. Snippets of conversations can be heard.) SAMANTHA: (to phone) ... Yeah. No, we're looking for a woman. She's 27, she's blond and she's traveling with a three-year-old girl ... DANNY: (to phone) ... No, it happened two days ago ... MARTIN: (to phone) ... Three years old, yes. Blond hair. Mm-hmm. No? ... VIVIAN: (to phone) ... Okay, thank you. Yes, thank you. Yes, ma'am ... CUT TO: SCENE #39: [INT. FBI - HALLWAY -- DAY] (ANGELA BUCKMAN and JACK sit side by side in the hallway.) ANGELA BUCKMAN: It's so different when we're dealing with other people's lives. JACK: It always is. ANGELA BUCKMAN: So Matthew told me. JACK: Yeah, I know. ANGELA BUCKMAN: Kind of a bad way to find out about something like that. JACK: Is there a good way? ANGELA BUCKMAN: I don't know what I feel anymore. I just want my baby back. JACK: I understand. (The office door opens and SAMANTHA sticks her head out.) SAMANTHA: Jack. JACK: (motions) Come here. (SAMANTHA walks out into the hallway.) SAMANTHA: (sighs) We found the church, outside Camden. Minister says a woman matching Zoe's description showed up with a little girl. Asked to spend the night. They're in a trailer park across the street. ANGELA BUCKMAN: Oh, my god. SAMANTHA: Locals have her under surveillance. They're waiting on our move. ANGELA BUCKMAN: (to JACK) Oh, you've got to let me go with you, Jack. JACK: Okay. But you're a spectator. If you can't do that, you stay here. Understand? ANGELA BUCKMAN: Okay. (They both stand up. SAMANTHA watches them.) CUT TO: SCENE #40: [EXT. TRAILER PARK OUTSIDE CAMDEN -- DAY] (OFFICERS and AGENTS with guns surround the park. MARTIN casually walks by. SAMANTHA and VIVIAN approach the trailer.) (JACK fills MATTHEW and ANGELA BUCKMAN in on the plans. They wait in the car while JACK leans in the open car window.) JACK: The plan is to lure Zoe outside long enough to distract her so we can get in there and grab your baby. ANGELA BUCKMAN: Jack ... JACK: Angela, trust me, okay? (JACK looks up and watches.) (MARTIN knocks on the trailer door. The door opens and ZOE HEINRICH sticks her head out.) MARTIN: (casually) Hey, how you doing? I hate to bother you, but, uh, I think I just hit your car. ZOE HEINRICH: What? (She sticks her head out the door.) MARTIN: Yeah, is this you over here, with the black mustang? ZOE HEINRICH: Yeah. MARTIN: I was backing up, I didn't, I didn't see it. But, uh, it's not a lot of damage, just a cracked tail light but you should come take a look. I'll give you my information. (ZOE HEINRICH looks at the car. She hesitates. She looks at MARTIN.) ZOE HEINRICH: (firmly) No. (She slams the door.) ZOE HEINRICH: (hysterical) Get away from me! I'll kill her! I swear to god, I'll kill her! I swear to god, I'll kill her! (MARTIN gets away from the door and draws his weapon. He rushes over to the side of the trailer.) (ANGELA opens the car door and tries to get out of the car. MATTHEW holds her back. JACK blocks her way.) ANGELA: Let me get out ... JACK: Angela, stay in the car. Stay in the car. Stay in the car. (SAMANTHA and VIVIAN join JACK.) VIVIAN: Swat team's ready to move in. SAMANTHA: Sniper's in position. JACK: Is she clear of the girl? SAMANTHA: No. JACK: Okay. Tell them to hold off. (SAMANTHA leaves.) ANGELA BUCKMAN: (struggling against MATTHEW) Let me get out. JACK: Stay in the car ... ANGELA: Please, let me talk to her. She wants to be a mother; that's all this is about. Please, just let me talk to her. JACK: Listen, I've already stuck my neck out far enough, okay? You're not even supposed to be here. Just let us do our job, okay? (ANGELA relents. JACK turns away and talks quietly to VIVIAN.) JACK: Okay, I think that we have to appeal to the same instinct that made Zoe take the baby in the first place. VIVIAN: (nods) Right, mother to mother. JACK: Right. You up for the job? VIVIAN: (nods) Mm-hmm. JACK: Okay. We'll have the windows covered. Anything bad goes down, you're out of there. (VIVIAN walks away from JACK. ANGELA and MATTHEW hold on to each other in the car.) CUT TO: SCENE #41: [EXT. TRAILER PARK OUTSIDE CAMDEN - DAY -- CONTINUOUS] (VIVIAN approaches the trailer.) VIVIAN: Zoe, my name is Vivian Johnson. I'm with the FBI. ZOE HEINRICH: What do you want?! VIVIAN: I want to talk to you about Abby. ZOE HEINRICH: Go away! (Inside the trailer, ZOE HEINRICH paces the floor. ABBY BUCKMAN sits quietly inside.) VIVIAN: Zoe. I just want to talk to her. ZOE HEINRICH: I swear to god, I'll hurt her! VIVIAN: You don't want to do that I know you don't. The last thing you want to do is hurt that baby. SNIPER: This is Sierra One. (over radio) I have a silhouette. If I see her, do I have a green light? JACK: (to mic) No. Hold your fire. (Inside the trailer, ZOE picks up the gun.) ZOE HEINRICH: I'm taking good care of her. VIVIAN: I know you are, Zoe. I know how much you must love her. I-I can't imagine how painful it was to lose a baby. What kind of an awful hole that can leave in a life. I have a son, Zoe ... he's twelve ... and if anything ever happened to him, I don't think I could go on. But, Zoe, there's another mother out here who's lost a child. Her name is Angela. And she and Abby's dad they've got a hole in their lives now, too. You can fill that hole, Zoe, you can. I know you're scared, but I know in your heart, you want to give them their baby back. Will you give Abby back to them? Will you do that, Zoe? Zoe, please. (Inside the trailer, ZOE sits down. She still holds the gun in her hand.) SNIPER: (hushed) You want us to go in? JACK: No. (Inside the trailer, ZOE sits and holds the gun.) VIVIAN: Zoe? Zoe? Are you listening to me? (Inside the trailer, ZOE stands up and kneels in front of ABBY. She lifts the little girl's chin with her hand.) (Outside, everyone waits.) (The trailer door slowly opens.) JACK: (to the mic) Hold your fire! Hold your fire! (ZOE leads ABBY outside. She looks at VIVIAN as she hands the little girl to her. VIVIAN picks up ABBY and walks away from the trailer.) (The trailer door closes.) (VIVIAN carries ABBY around the trailer and heads toward the car with her parents. ANGELA sees her daughter safe.) ANGELA BUCKMAN: (overcome with emotion) Oh, god! (JACK heads toward the trailer.) (MARTIN keeps an eye on the inside and suddenly shouts.) MARTIN: The gun -- Don't do it! (A gunshot fires.) (Agents rush in to the trailer.) (DANNY and SAMANTHA walk into the trailer. On the floor is ZOE HEINRICH with a gunshot in her abdomen. DANNY kneels and picks up the gun.) (Outside, MATTHEW BUCKMAN holds ABBY. ANGELA puts her arms around her daughter and husband.) (Cut to: JACK and VIVIAN walk toward a car. DANNY and SAMANTHA lean against the car in the background.) VIVIAN: We did everything we could. JACK: Yeah, I suppose. Why don't you go home? I'm sure your son wants to see you. VIVIAN: What about you? Going to go see your girls? JACK: Actually, it's, uh, my wife's turn with the girls tonight. (JACK looks over at ANGELA who is carrying ABBY. ANGELA looks over at JACK. She gets into the car.) (JACK walks away from VIVIAN.) VIVIAN: Tomorrow? JACK: First thing. FADE TO BLACK. ======================== THE END ======================== [Captioning sponsored by CBS and Warner Bros. Television Captioned by Media Access Group at WGBH access.Wgbh.Org] For corrections / inaccuracies, please contact the Transcriptionist at (intrepidly002@yahoo.com) Courtesy of http://www.webphilia.com/~anthology/wnp.html Please do not archive without permission. ======================== BEGINNING/TITLE CREDITS ======================== WITHOUT A TRACE 1X07: SNATCH BACK ORIGINAL AIR DATE ON CBS: 11/07/2002 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 MARIN HINKLE as Angela Buckman JOHN MESE as Matthew Buckman ELIZABETH BANKS APRIL GRACE MELODY BUTIU Producer: JAN NASH Producer: GREG WALKER Produced by: STEVE BEERS Co-Executive Producer: JACOB EPSTEIN Executive Producer: HANK STEINBERG Executive Producer: JONATHAN LITTMAN Executive Producer: ED REDLICH Written by STACY RUKEYSER Directed by LESLIE LIBMAN ======================== END CREDITS ======================== JERRY BRUCKHEIMER Television CBS Productions Warner Bros. Television, An AOL Time Warner Company www.warnerbros.com Associate Producer: NANCY VAN DOORNEWAARD Executive Story Editor: ALLISON ABNER Director of Photography: JOHN PETERS Production Designer: AARON OSBORNE Editor: DAVID J. SIEGEL, A.C.E. Music by PETER MANNING ROBINSON Theme by JOHNNY KLIMEK and REINHOLD HEIL Unit Production Manager: SCOTT MAITLAND / SCOTT WHITE First Assistant Director: KEN COLLINS Second Assistant Director: KRISTIN KILLEY Casting by: GARRY M. ZUCKERBROD, C.S.A. Casting by RONNA KRESS, C.S.A. and TRACY KAPLAN, C.S.A. Guest Starring SHIRLEY ROECA as Maria JASON MATTHEW SMITH as Colin Foley CHRIS D'ANNUNZIO as Bruce SUSAN KREBS as Child Psychologist TAMARA BICK as Mrs. Stephens STEVE O'CONNOR as Mr. Stephens JEFF HOHIMER as Eric JESSA FRENCH as Zoe ALEX FATOVICH as Foley's girlfriend ERIC SCOTT GOULD as Agent Technical Advisor: MARK LLEWELLYN Set Decorator: JEANNIE GUNN Property Master: JOHN HARRINGTON Costume Designer: ALIX FRIEDBERG Costume Supervisor: SUE BUB Make-up Artist: TINA ROESLER KERWIN Hairstylist: STEPHEN A. ELSBREE Production Sound Mixer: JAY PATTERSON, C.A.S. Location Manager: MICHAEL PAOLILLO Transportation Coordinator: JIMMY DEPUE Supervising Sound Editor: VICTOR IORILLO Music Supervisor: JASON ALEXANDER Music Editor: MELISSA FERGUSON Re-recording Mixers: YURI REESE / BILL SMITH Film Processing by FOTOKEM Main Title Design by SKIP FILM Visual Effects by ASYLUM cbs.com FBI Technical Advisors: DENNIS BONELLI / JENNIFER A. BLEIER The producers wish to thank the New York office of the FBI for their help and cooperation. The characters and events depicted in this motion picture are fictional. Any similarity to any actual person, living or dead, or to any actual events, firms, and institutions or other entities, is coincidental and unintentional. This motion picture is protected under the Laws of the United States and other countries, and its unauthorized duplication, distribution or exhibition may result in civil liability and criminal prosecution. Copyright 2002 Warner Bros. Television. All Rights Reserved Country of first publication United States of America Warner Bros. Television is the author of this film/motion picture for the purpose of Article 15 (2) of the Berne Convention and all national laws giving effect therein. Dated:03/19/2003~lky http://www.webphilia.com/~anthology/wnp.html