WITHOUT A TRACE 1X18: THE SOURCE ORIGINAL AIR DATE ON CBS: 04/03/2003 TRANSCRIBED FROM CBS Written by JACOB EPSTEIN 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-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 Contact the Transcriptionist at (intrepidly002@yahoo.com) ========================== SUMMARY: Investigative News Reporter Delia Rivers is missing and the last person she may have called might just have been Jack. Things get very personal for Jack when the suspect they're investigating threatens his family. The key to unraveling the mysterious behind Delia Rivers disappearance and stopping the threat against his family may lie in finding out the identity of The Source. ========================== WITHOUT A TRACE 1X18: THE SOURCE ========================== FADE IN SCENE #01: (A man in the shadows against a lit background, distorted face and distorted voice gives an interview. The caption on the bottom of the screen reads: "EXCLUSIVE / crimestop / 6WBJH".) THE SOURCE: (distorted voice) So Benny shot the guy. The kid was too much of a bad ass to get rid of the gun. DELIA RIVERS: (o.s.) Because he thought Katan would protect him. THE SOURCE: (distorted voice) Yeah. (sighs) But he didn't. That's the one thing about Freddy Katan - (nods) -- he'll always do what's right for Freddy. (Cut to: DELIA RIVERS is on screen with a small insert photo of FREDDY KATAN. The caption on the bottom of the screen reads: DELIA RIVERS / 6WBJH".) DELIA RIVERS: (on tv) Through his attorney, New York nightclub owner Freddy Katan issued a statement denying any involvement in the shooting. However ... (Cut to: DELIA RIVERS is on scene with a couple of cops escorting BENNY RUIZ past the cameras.) DELIA RIVERS: ... The Source who gave me this exclusive interview continues to assert that Mr. Katan ordered the hit, and that Benny Ruiz simply pulled the trigger. CUT TO: SCENE #02: [INT. WBJH - EDITOR'S OFFICE - DAY - CONTINUOUS] DELIA RIVERS: (on tv) But for now, the controversial and elusive Freddy Katan will not be charged with any crime. I'm Delia Rivers from channel six news, crimestop. (DELIA'S EDITOR turns off the television set and puts the remote on the desk.) DELIA'S EDITOR: The Caped Crusader. DELIA RIVERS: Yeah, we'll see if it sticks. DELIA'S EDITOR: Hey, thanks to you and your secret source, the cops found Benny's gun. Have a little faith. (DELIA RIVERS walks out of the office and into the newsroom.) DELIA RIVERS: Faith requires more sleep than I'm getting. DELIA'S EDITOR: Well, you don't have to single-handedly take on the entire underbelly of the city. DELIA RIVERS: Sure I do. Are you hungry? DELIA'S EDITOR: I got promos to cut. DELIA RIVERS: Oh, come on, I'm buying. (DELIA takes her bag out of her desk.) DELIA'S EDITOR: You want to wait an hour? DELIA RIVERS: Eh, that's okay. I'll be fine. (DELIA'S EDITOR heads back to her office.) DELIA'S EDITOR: Hey, don't forget we have an interview with the head of public school security in the morning. DELIA RIVERS: 8:30? DELIA'S EDITOR: Your turn to bring real coffee. No blue cups. (DELIA'S EDITOR leaves the office. DELIA lifts up her hand and waves behind her. She takes out her cell phone and dials.) DELIA RIVERS: (to phone) Hi, Jack, it's, uh, Delia Rivers. (Cut to: [JACK'S OFFICE] The light on the answering machine flashes red.) (Cut back to: DELIA RIVERS walks into the elevator.) DELIA RIVERS: (to phone) Jack, I know you're really busy, but if you could get back to me, I would appreciate it. Thanks. (DELIA turns her phone off.) (As she stands there, DELIA RIVERS vanishes. The elevator doors close. The camera pans backwards.) CUT TO: [EXT. NEW YORK CITY (STOCK) - DAY] SCENE #03: [INT. FBI - JACK'S OFFICE -- DAY] (SAMANTHA stands in front of JACK'S desk. JACK moves behind his desk.) SAMANTHA: She's been missing about thirty-six hours. She left the newsroom at 8:30 Tuesday night, missed an important interview the following morning and hasn't answered her home phone, cell phone or pager. JACK: They check her apartment? SAMANTHA: Yeah-- no purse, no cell, no keys. The doorman said she never came home that night. JACK: Geez. SAMANTHA: Yeah, she's made a lot of enemies over the years, Jack. JACK: She left me a message the other night. (JACK presses the button on the answering machine.) ANSWERING MACHINE: You have three saved messages. First saved message sent Tuesday at 8:32 P.M. (SAMANTHA leans in to listen to the message. The answering machine beeps.) DELIA RIVERS: (from machine) Hi, Jack, it's, uh, Delia Rivers. I know this is the second time I'm calling you today, but I, um ... I just want to get some background from you. Uh, it doesn't have anything to do with any case that you're working on, but I thought you might be able to help me. Jack, I know you're really busy, but if you could get back to me, I would appreciate it. Thanks. (At the end of the message, the answering machine beeps. SAMANTHA stands up.) SAMANTHA: You might be the last person she called. (JACK looks down at the answering machine.) JACK: (regretfully) I should've called her back. HARD CUT TO END OF TEASER ROLL TITLE CREDITS (COMMERCIAL SET) FADE IN. SCENE #04: [INT. FBI - MISSING PERSONS UNIT -- DAY] LEGEND: 37 HOURS MISSING (The TEAM watches the last report filed in by DELIA RIVERS on the television.) DELIA RIVERS: (from tv) But for now, the controversial and elusive Freddy Katan will not be charged with any crime. I'm Delia Rivers from Channel six news, crimestop. (DANNY turns it off. Everyone is around the conference table.) JACK: When did this air? VIVIAN: Tuesday, 11:00, three hours after she left work. If Freddy Katan was trying to eliminate her because of this, he knew about it before it aired. SAMANTHA: Do you really see him going after her the same night this airs? He's just begging for us to come knocking at his door. JACK: What do we have on this guy? (DANNY hands JACK the information.) DANNY: Freddy Katan, a small-time pot and coke dealer in Philly in the late '90s. He moved to New York two years ago. The DEA pick up on his scent when he graduated to heroin. MARTIN: Another upstanding citizen. DANNY: His legit gig is that he owns a nightclub and two restaurants. MARTIN: How 'bout her source? DANNY: My guess is Diego Mondesi, Katan's right-hand man. Word on the street is that he's getting ready to make a major power play. MARTIN: You know, Delia got a call on her cell that night: 8:42 - right after she called you, from a construction worker in Dayton, Ohio. He never heard of her. Cloned phone. Maybe Mondesi calling to set up another rendezvous. JACK: We should check everything that she was investigating. Martin and Vivian, you check out her apartment. Samantha, we'll go check out channel six. Danny, see if you can locate Mr. Katan. (With their assignments, everyone stands up.) DANNY: Got it. CUT TO: SCENE #05: [INT. WBJH - THE EDITOR'S OFFICE -- DAY] (JACK and SAMANTHA meets with DELIA'S EDITOR.) JACK: Do you have any idea who The Source is? DELIA'S EDITOR: Somebody close to Katan, obviously. She's been riding him pretty hard for the last month. SAMANTHA: Do you have the undistorted version of the tape? DELIA'S EDITOR: I've never seen or heard it. JACK: When was the interview done? DELIA'S EDITOR: She brought the tape in yesterday. Cops found the gun, arrested Benny. We were on at 11:00. SAMANTHA: If she had to run, for some reason, do you have any idea where she might go? DELIA'S EDITOR: She wouldn't run. And I don't know where she'd run to. Both her parents are dead, and I've never heard anything about any other family. SAMANTHA: Boyfriend? DELIA'S EDITOR: But none that I've ever heard about. I always tease her - "all work and no play". JACK: What else was she working on lately? DELIA'S EDITOR: There was one story, she wouldn't even tell me what it was. She said if it all came together, it would rock the city. I tried to push her, but ... (Quick flashback to: DELIA RIVERS and her EDITOR are in the newsroom.) DELIA'S EDITOR: Come on, Delia, it's me. DELIA RIVERS: Look, I told you -- not until I have more. DELIA'S EDITOR: You can't walk around here bragging about the Peabody and then not give me a taste. DELIA RIVERS: I never said anything about the Peabody. Look, all I can tell you is that if I break this, I think I might be able to get the death penalty abolished in New York. (End of flashback. Resume to present.) SAMANTHA: This was when? DELIA'S EDITOR: Two days before she disappeared. JACK: Did she mention she was going to call me? DELIA'S EDITOR: No. JACK: She left a message asking for some background, but she didn't say what it was for. Do you think it was about Katan? DELIA'S EDITOR: She already had plenty of background on him, probably more than you guys have. JACK: I'm going to need everything: Her notes, her tapes, everything she was working on and a list of resources. DELIA'S EDITOR: Nobody knows who her sources are, or where she keeps their information. That's how she makes her livelihood. She has never blown anyone's anonymity. CUT TO: WHITEBOARD TIMELINE: 2 DBD - CHASING DEATH ROW STORY SCENE #06: [INT. DELIA'S APARTMENT -- DAY] LEGEND: 39 HOURS MISSING (The door opens. MARTIN and VIVIAN walk inside.) MARTIN: Well, she's not going to win any happy homemaker awards. VIVIAN: I don't think that's what she was going for. (They look around. MARTIN picks up a framed photograph of DELIA RIVERS in her gi and breaking a piece of wood in half with her foot.) MARTIN: Hmm. Pretty good form. (MARTIN shows the photograph to VIVIAN.) VIVIAN: Brown belt -- that's serious. MARTIN: Mm-hmm. She must've thought she needed it. (MARTIN puts the photo back on the shelf.) CUT TO: SCENE #07: [INT. CLUB -- DAY] (JACK and DANNY walk into the club. There aren't that many people there. FREDDY KATAN is at the back of the main room playing with a pinball machine.) (JACK shows his I.D. to the security guard.) JACK: FBI. DANNY: Hey ... nice pony tail. (They both walk up to FREDDY KATAN.) FREDDY KATAN: Gentlemen, what can I do for you? JACK: I wanted to ask you about Delia Rivers. FREDDY KATAN: A beautiful woman, intelligent, ambitious, not without her charms. JACK: Seemed to be quite interested in you. FREDDY KATAN: She's interested in headlines. Can't blame her for that. That's her job. (DANNY reaches out a hand and pushes on the machine. The pinball machine beeps. A red sign flashes - "DANGER", then "TILT".) DANNY: Hey, full tilt. JACK: Sorry about that. FREDDY KATAN: (calmly) Accidents happen. (FREDDY turns around and walks toward the bar. DANNY and JACK follow.) DANNY: Yeah. Delia found a rat in your crew, Freddy. FREDDY KATAN: I have 95 "employees", not a "crew". DANNY: How about Diego Mondesi? FREDDY KATAN: What about him? DANNY: Well, is he an employee? FREDDY KATAN: Unfortunately not. BARTENDER: Here you go, Fred. (The bartender puts a cup and saucer in front of FREDDY.) FREDDY KATAN: We had creative differences. DANNY: Hmm, you don't have any idea where we could find him, do you? FREDDY KATAN: I think he took a vacation. JACK: Really? Where? FREDDY KATAN: In Tokyo, I believe. JACK: Tokyo. FREDDY KATAN: Yeah. He was very interested in sashimi. JACK: Sashimi. FREDDY KATAN: You have a card? I'll tell him to call you when he gets back. JACK: No. Not a problem. Thanks. FREDDY KATAN: Cheers. (JACK and DANNY head out of the club.) DANNY: (to JACK) I think we'd better find Diego Mondesi. CUT TO: SCENE #08: [INT. DELIA'S APARTMENT -- DAY] (VIVIAN and MARTIN go through DELIA'S desk. VIVIAN leafs through a stack of DELIA'S steno notebooks and pulls out one. She looks through it.) VIVIAN: Hey, I think I got something here. Initials, codes ... (MARTIN looks at the notebook.) MARTIN: Her Sources. CUT TO: SCENE #09: [INT. FBI - CONFERENCE ROOM -- DAY] (SAMANTHA and DELIA'S EDITOR walk into the room carrying file storage boxes of DELIA'S information that JACK requested.) DELIA'S EDITOR: The station converted to digi-beta last year, but I have all of her old broadcasts on three-quarter inch. SAMANTHA: Don't worry about it. We can deal with all different formats. (They put the boxes on the conference table.) DELIA'S EDITOR: Delia and I have done twenty-two investigative reports. Thirteen led to arrests and convictions. SAMANTHA: Wow. (MARTIN walks in and asks DELIA'S EDITOR for assistance.) MARTIN: Hey, there. SAMANTHA: Hey. MARTIN: I was hoping you could help us out. We think this is a list of Delia's sources, and ... yeah, as you can see, it's a pretty elaborate system. (DELIA'S EDITOR looks at the notebook and shakes her head.) DELIA'S EDITOR: Sorry. No. This is exactly the point. She didn't want anyone to be able to decipher it. MARTIN: Great. I'll have to get this to our hieroglyphics department. (MARTIN leaves.) CUT TO: SCENE #10: [INT. HALLWAY - DAY] LEGEND: MANHATTAN DISTRICT ATTORNEY'S OFFICE (JACK and ADA DAVID WILKINS walk down the hallway.) DAVID WILKINS: We wouldn't have been able to bring charges on Benny without her source gave us the gun. JACK: Any idea who The Source is? DAVID WILKINS: Katan's ruthless. Whoever's doing it has a death wish. JACK: Diego Mondesi, perhaps? DAVID WILKINS: Possible. He's close enough to the guy. [INT. DISTRICT ATTORNEY'S OFFICE - DAY -- CONTINUOUS] (They turn into the office.) JACK: Did Delia talk to anybody else in your office, or did she deal with you exclusively? DAVID WILKINS: Well, you know Delia. She'll go where the story is. But, if she had a choice, she's come to me. (JACK sits down in front of the desk. DAVID WILKINS sits down behind his desk.) JACK: When was the last time you saw her? DAVID WILKINS: Uh, a couple days ago. JACK: She mention any threats, did she say she was scared? DAVID WILKINS: No. (beat) God, I hope nothing's happened to her. (JACK looks at the small framed photograph of the DA'S family on his desk.) JACK: How are your kids? DAVID WILKINS: (smiles) My daughter says the normal mourning period is 18 months. She thinks I should start dating again, which is probably solid advice, except she's twelve. JACK: That doesn't make her wrong. (DAVID chuckles.) DAVID WILKINS: How's your family? JACK: Mm. My wife and I are working through some stuff. We'll get there. DAVID WILKINS: Yeah? Well, keep at it. (pause) Oh, here's notes I took whenever Delia came to interview me. JACK: Did she speak to you about any of your capital cases? DAVID WILKINS: Mm, no. Why? JACK: Her producer mentioned that she was working on some death row story. (He pauses for a moment and shakes his head.) DAVID WILKINS: Uh ... let me make copies of these for you. JACK: Sure. (DAVID stands up and walks away.) DAVID WILKINS: Okay. CUT TO: [EXT. NEW YORK CITY (STOCK) - DAY] SCENE #11: [INT. FBI - MISSING PERSONS UNIT -- DAY] (VIVIAN is bent over the conference table looking through the files. MARTIN stands nearby looking at the notebook.) VIVIAN: How you doing with that code? MARTIN: Well, it's a modified shorthand, which is easy enough to read, except the sources' names and key information, they're in some sort of transposition cipher. (MARTIN takes a seat.) VIVIAN: Don't we have people here that do that kind of thing? MARTIN: Where do you think I got the term "transposition cipher"? (VIVIAN'S cell phone rings. She answers it.) VIVIAN: Hmm ... Special Agent Johnson. (pause) Yeah. (pause) No ... hang on. (to MARTIN) Vanessa Thompson? Wants to speak to Jack about Delia ... (MARTIN thinks about the name and shakes his head.) MARTIN: (quietly) Vanessa Thompson ... no. VIVIAN: (to phone) Uh-uh. No. Well, he'll be back in about fifteen minutes. You can send her up to the third floor reception. CUT TO: SCENE #12: [INT. FBI - JACK'S OFFICE -- DAY] (VANESSA THOMPSON talks with JACK. She hands him an envelope.) VANESSA THOMPSON: It's an inventory receipt for an independent forensics lab. They do mostly evidence testing for defense attorneys. JACK: Did she say what it was for? VANESSA THOMPSON: She just said to give it to you. (Quick flashback to: VANESSA THOMPSON exits the police station. DELIA RIVERS waits for her on the sidewalk.) DELIA RIVERS: Hi. VANESSA THOMPSON: What're you doing here? DELIA RIVERS: I, um, wanted to see you. I've missed you. VANESSA THOMPSON: Me or the leads? DELIA RIVERS: Okay, I deserve that. Relationships have never been my strongest suit. VANESSA THOMPSON: You were good when you were there. (DELIA is quiet.) (concerned) Is everything okay? DELIA RIVERS: There's some pretty heavy stuff going on. VANESSA THOMPSON: (rolls her eyes) Well, that's not new. DELIA RIVERS: And I need you to do something for me. It's not what you're thinking. I don't need you to tell me anything, or confirm anything. It's just that if ... anything happens to me, I need you to give this to Jack Malone at the FBI. (DELIA holds out an envelope.) VANESSA THOMPSON: What are you talking about? Are you in trouble? DELIA RIVERS: I can't talk about it. But please take it. Okay? (pause) Please. (VANESSA takes the envelope.) (End of flashback. Resume to present.) (JACK opens the envelope and removes the receipt.) VANESSA THOMPSON: No one really knew about us, but, uh ... Delia and I were involved, for almost a year. I was also a source for her. JACK: She tell you anything else? VANESSA THOMPSON: No. JACK: When did she give you this? VANESSA THOMPSON: Uh, Tuesday afternoon. Must've been a few hours before she disappeared. CUT TO: [WHITEBOARD] (Camera focuses on a close up of DELIA RIVERS and slowly moves out.) FADE OUT. (COMMERCIAL SET) FADE IN. [EXT. NEW YORK CITY (STOCK) - DAY] SCENE #13: [INT. FBI - MISSING PERSONS UNIT -- DAY] (DANNY and JACK look down at a jacket spread out on the conference table.) DANNY: Julia brought it in on Monday. The results came in this morning. JACK: And? DANNY: (sighs) Except for a little dirt and a mustard stain, the jacket's clean. JACK: What was she having it tested for? DANNY: Blood and gunpowder. JACK: Obviously she wanted to know this jacket was worn by a shooter. Her producer said she was working on a death row case. If this is related, it would indicate that the person wearing it was not the shooter. DANNY: And the real killer is walking free. JACK: Let's check all the recent death row cases in the tri-state area. DANNY: Okay, you got it. (DANNY leaves.) CUT TO: SCENE #14: [EXT. SIDEWALK -- DAY] LEGEND: 44 HOURS MISSING (SAMANTHA and ERIC KELLER walk down the sidewalk.) ERIC KELLER: Capital cases? What's this about? SAMANTHA: Just something I'm working on. ERIC KELLER: Delia Rivers. SAMANTHA: Maybe. ERIC KELLER: Thought that was a Freddy Katan thing. SAMANTHA: Yeah, well, she was investigating a death row case -- a dirty one. ERIC KELLER: Oh, so you come to your friendly neighborhood homicide detective. SAMANTHA: Oh, it's not just the "friendly" part. You're also the cutest homicide detective I know. ERIC KELLER: And you're wondering if I've put any innocent men on death row. SAMANTHA: No, look, cops talk. I just, I thought maybe you'd heard something. ERIC KELLER: And I thought you were just using me for my body. SAMANTHA: (smiles) Yeah, you wish. ERIC KELLER: Look, you got to give me so all right. SAMANTHA: All right. We think it was a shooting. Buried evidence-- a jacket. ERIC KELLER: I'll see what I can do. SAMANTHA; Thank you. (SAMANTHA heads down the sidewalk.) ERIC KELLER: (calls out) Will I see you tonight? (SAMANTHA turns around and smiles.) SAMANTHA: I hope so. (SAMANTHA leaves.) CUT TO: SCENE #15: [INT. FBI - MISSING PERSONS UNIT -- DAY] (Camera opens on a page of DELIA RIVERS' notebook code deciphered.) MARTIN: Here, she shortened everything. "Ce. Pk." Central Park. "Gr. Tion." Grand Central Station. VIVIAN: Mmm. Okay, now, what's this? MARTIN: "Sal. Ant." Ant. Ant. Aunt. Yeah, maybe it's "ant," like "restaurant." VIVIAN: 136th street. I'm guessing that's not Manhattan. MARTIN: The Bronx? VIVIAN: I think Queens. (VIVIAN runs a City Information Search. City: "Queens, NY". and Keywords: "Sal, Restaurant". The results are as follows: [Salaguigi's Pasta Company 300 Northern Blvd. Saldini's Bistro 11120 Roosevelt Ave. Salisbury Pete's Steak House 3801 218th St. Sally's Cake and Steak 1150 Ditmars Blvd. Salomon's Burger Bar 565 161th Ave. Salsa Fiesta Casa 2336 50th Ave. Salty's Fish House 23 Woodbine St. Salvadore & Son's Restaurant 2550 136th St. ] VIVIAN: Okay, let's see. Okay, "Saldini's Bistro, Sally's Cake and Steak, Salvadore & Son's Restaurant, 136th street." (MARTIN nods his head.) MARTIN: Mmm, nice. You hungry? (VIVIAN looks over at MARTIN.) CUT TO: SCENE #16: [INT. SALVADORE & SON'S RESTAURANT] (VIVIAN shows a picture of DELIA RIVERS to SAL BARRONE.) SAL BARRONE: Delia Rivers -- sure I recognize her. Cable's been on the fritz, but the rabbit ears get channel six okay. VIVIAN: Her records show that she ate here seven times in the last six months. SAL BARRONE: Yeah, uh, in fact, she was in just a couple of days ago. VIVIAN: When, exactly? SAL BARRONE: Um, let me see. Uh, meat loaf special -- that would be Monday. VIVIAN: Did she come in here with anyone else? SAL BARRONE: No, she came in solo. But there was a guy waiting at the table. (Quick flashback to: DELIA RIVERS walks into the restaurant. She takes the package with a box inside from the man at the table and sits down.) SAL BARRONE: (v.o.) I don't remember the guy too well, but I do remember he handed her a box. It looked a little secretive. (End of flashback. Resume to present.) VIVIAN: Any idea what was in the box? SAL BARRONE: Uh, no, she didn't take it out. But she seemed pleased. VIVIAN: Okay. Thank you. SAL BARRONE: Sure. CUT TO: WHITEBOARD TIMELINE 7:30 PM / 2 DBD - GETS PACKAGE FROM MYSTERY MAN (JACKET?) SCENE #17: [INT. FBI - JACK'S OFFICE -- DAY] (JACK is sitting at his desk when DAVID WILKINS, the A.D.A., walks in.) DAVID WILKINS: Jack. JACK: David, come on in. DAVID WILKINS: I was on my way home. Thought I'd drop by, see how things were going on the Delia Rivers front. (DAVID puts his suitcase down and sits in the chair at JACK'S desk.) JACK: We're making some headway. DAVID WILKINS: Still looking like it's related to Katan? JACK: We're really not sure. DAVID WILKINS: You ... you, uh, mentioned something earlier about a death row case she was working on. I think I can be of help, if that's still the direction you're going. JACK: We think that she was working on a dirty conviction. We're just not sure which office it came out of. DAVID WILKINS: That's pretty serious. JACK: Yes, it is. (beat) Is there something on your mind? DAVID WILKINS: No, it's sad, that's all, if something happened to her, and she was just trying to do the right thing. JACK: Hopefully, there's another explanation. DAVID WILKINS: Yeah, yeah. Look, I got to get home. Um ... it's the kids' bedtime, and the nanny can never get them settled down. (DAVID WILKINS stands up.) JACK: I understand that. DAVID WILKINS: I'll try and dig something up. (They shake hands.) JACK: Sure. Thanks for stopping by. DAVID WILKINS: Sure. (DAVID WILKINS leaves the office. JACK sits at his desk with a thoughtful look on his face at the strange encounter.) CUT TO: SCENE #18: [INT. FBI - MISSING PERSONS UNIT] (MARTIN walks in carrying two cups of coffee. He hands one to SAMANTHA who sits at the conference table going through the files.) MARTIN: There you go. SAMANTHA: Ah, thank you. MARTIN: What do you got there? SAMANTHA: A take on dirty death row convictions. MARTIN: A reliable source? SAMANTHA: Well, he's certainly got incentive to be. MARTIN: You and, uh, Delia -- fuzzy boundaries. SAMANTHA: Well, that's how I like my relationships - nice and complicated. MARTIN: Clearly. (SAMANTHA looks at MARTIN. MARTIN looks back at SAMANTHA, then down at the papers in front of her.) MARTIN: We should, uh, cross-reference whatever you got from her notebook. SAMANTHA: Right. Yeah. MARTIN: Can I see that list? (SAMANTHA hesitates.) MARTIN: My lips are sealed. (SAMANTHA hands the sheet of paper to MARTIN. JACK walks in.) JACK: You guys working on the death row stuff? SAMANTHA: Yeah, right here. JACK: I want you to check into David Wilkins' cases for me. SAMANTHA: The Assistant District Attorney? JACK: Yeah. MARTIN: Did he say something? JACK: Not exactly. MARTIN: All right, well, we'll keep digging into it. JACK: Great. (JACK looks past SAMANTHA.) Nice flowers. (JACK walks out of the office. SAMANTHA and MARTIN smile.) CUT TO: [EXT. NEW YORK CITY (STOCK) - NIGHT] SCENE #19: [INT. FBI - JACK'S OFFICE -- NIGHT] (JACK sits in his office listening to the message DELIA left on his answering machine.) DELIA RIVERS: (answering machine) Hi, Jack, it's, uh, Delia Rivers. I know that this is the second time I'm calling you today, but I, uh, ... (Quick flashback to: DELIA RIVERS on the cell phone walking through the newsroom.) DELIA RIVERS: ... I just want to get some background from you. It doesn't have anything to do with any case that you're working on, but I thought ... (End of flashback. Resume to present.) DELIA RIVERS: (answering machine) ... you might be able to help me. Jack, I know you're really busy, but if you could get back to me, I would appreciate it. Thanks. (The answering machine beeps.) ANSWERING MACHINE: You have no further messages. (DANNY walks into the office.) JACK: You know, she wasn't calling for background. She was calling because she was scared. DANNY: And with good reason. We found Diego Mondesi. CUT TO: [EXT. NEW YORK CITY (STOCK) - NIGHT] LEGEND: 47 HOURS MISSING SCENE #20: [EXT. -- NIGHT] (JACK, SAMANTHA and ERIC KELLER look at the body inside the back of the trunk of the car.) [CLOSED-CAPTIONED: It's Mondesi, all right.] ERIC KELLER: He was shot in the groin, then stuffed in the trunk. JACK: Coroner here yet? ERIC KELLER: No. My guess is that he died this morning. A wound like that must have taken a couple hours for him to bleed out. JACK: Nice. (ERIC KELLER steps aside. JACK leans in and notices something.) JACK: He's got something in his mouth. (He pulls it out.) It's videotape. SAMANTHA: Maybe Katan's sending a message. (DANNY comes out of the front seat of the car. He's carrying something and shows it to SAMANTHA and JACK.) DANNY: Found this under the front seat. It's the clone phone. He did call the night she disappeared. FADE OUT. (COMMERCIAL SET) FADE IN. [EXT. NEW YORK CITY (STOCK) - NIGHT] SCENE #21: [INT. CLUB -- NIGHT] (JACK and DANNY walk into FREDDY KATAN'S night club. JACK flashes his badge as he walks in. DANNY fingers the security guard's necklace.) DANNY: (to the guard) Hey, do you have a permit for this? JACK: (to FREDDY) Your buddy Diego was murdered last night. FREDDY KATAN: That's terrible. (FREDDY glances over at PAUL SUMMERS. He turns back to JACK.) FREDDY KATAN: Where? JACK: Well, it wasn't Tokyo, that's for sure. PAUL SUMMERS: I don't think I've introduced myself. I'm Paul Summers, Mr. Katan's attorney. Is my client a suspect here? JACK: You know what I think? I think Diego was dealing a Source. He was ratting you out, and you knew it. PAUL SUMMERS: Mr. Katan is a legitimate businessman, unfairly smeared by Ms. Rivers, who is now conveniently hiding somewhere while her allegations run wild. JACK: Let's hope for your sake that she is hiding. Where were you last night? FREDDY KATAN: With my attorney. JACK: All night? You guys having a sleepover? PAUL SUMMERS: We were working late on a business deal. Now, unless you have a formal complaint against my client, this conversation is over. JACK: We'll be in touch. (JACK turns to leave. DANNY points at PAUL SUMMERS.) DANNY: Harvard, '92? (PAUL SUMMERS winks at DANNY. DANNY and JACK leave.) CUT TO: SCENE #22: [INT. FBI - MISSING PERSONS UNIT] (SAMANTHA looks at the crime scene photo of DIEGO MONDESI. Everyone else is sitting around the conference table.) JACK: She's on her way out of the news building, and she gets a call from Diego Mondesi. Could be a coincidence, but I doubt it. He's probably across the street watching her. He makes an arrangement to see her that night. SAMANTHA: Maybe Katan was onto them. He kidnaps or kills Delia, finds Mondesi, does him, too. JACK: And for some reason, she wants us to have that jacket. VIVIAN: Probably had something to do with Katan. JACK: They are connected in some way. Samantha, I want you to double back and check all the capital cases. SAMANTHA: Okay. (SAMANTHA stands up and leaves. MARTIN walks up to the board carrying a large map with notes on it.) MARTIN: All right, here's what I got from my all-nighter with her notebooks. Delia was running down four stories in Forest Hills. VIVIAN: That's the same location as Salvadore's restaurant, the place where the guy gave her the jacket. MARTIN: Right. And all the leads for these stories hinge on crime scene evidence, which means someone was tipping her off. It's got to be somebody who's working the evidence room in Forest Hills. It's got to be a cop. CUT TO: SCENE #23: [INT. FBI - CONFERENCE ROOM -- DAY] (VIVIAN and MARTIN meet with the GEORGE DUNLOP who gave DELIA RIVERS the jacket.) GEORGE DUNLOP: Look, I don't have to tell you guys how many times a perp walks 'cause of god knows what that some lawyer comes up with. So, I give her some info sometimes. She gets her stories, I get some justice. VIVIAN: A vigilante. GEORGE DUNLOP: Delia only files a story when she's got the proof to back it up. MARTIN: We have the jacket. GEORGE DUNLOP: Why don't you tell us about it? (Quick flashback to: DELIA RIVERS meets with the OFFICER at Salvadore's Restaurant.) DELIA RIVERS: You're doing the right thing helping the kid out. GEORGE DUNLOP: Well, let's keep it between us, okay? My mug won't look as good as yours does on tv. DELIA RIVERS: Your secret's safe with me. GEORGE DUNLOP: You know, if you take this all the way, it's going to be huge. DELIA RIVERS: Yeah. Got to get the test results first. (DELIA stands up to leave.) (End of flashback. Resume to present.) MARTIN: So, you tied her to the jacket. GEORGE DUNLOP: No. This one she asked for. VIVIAN: What made her ask for it? GEORGE DUNLOP: I don't know. MARTIN: Which case? GEORGE DUNLOP: You know the A.D.A. Wilkins? VIVIAN: Yeah. GEORGE DUNLOP: His wife's murder. Delia thinks they're railroading some kid for it. CUT TO: SCENE #24: [INT. FEDERAL PRISON -- DAY] (JACK interviews WINSTON BELL.) WINSTON BELL: They didn't have nothing. The D.A. was heading down the street, heard his wife get popped, saw two black men running away ... JACK: ... and 20 minutes later, you were holding her shopping bag three blocks from the shooting. WINSTON BELL: I found it in the alley. JACK: Is that why you ran away from the cops? WINSTON BELL: I'm telling you, someone tossed it. I picked it up. Man, I didn't kill that lady. Man, I don't even know that lady. What's this to you, anyway? JACK: I'm trying to get some information on Delia Rivers. WINSTON BELL: What about her? JACK: When's the last time you saw her? Monday? WINSTON BELL: She told me she was going to get me out. (Quick flashback to: DELIA RIVERS talks with WINSTON BELL.) DELIA RIVERS: I brought your jacket in to be tested. It'll take a couple of days, but I'm sure it's going to give us what we need. WINSTON BELL: Yeah, if you say so. DELIA RIVERS: The jacket's got to be clean. Otherwise, they would have used it as evidence against you. WINSTON BELL: I don't get it. DELIA RIVERS: They buried it in the evidence room, and it never made it on the log. Your lawyer didn't know to look for it, much less have it tested. WINSTON BELL: Yeah. My lawyer. DELIA RIVERS: Winston ... we're going to get you out of here. WINSTON BELL: Why are you doing this? DELIA RIVERS: 'Cause you're not supposed to be here. Just hang in there. This'll all be over soon. (End of flashback. Resume to present.) WINSTON BELL: She was supposed to come back yesterday. I haven't heard from her. JACK: She's been missing for two days. Nobody's heard from her. WINSTON BELL: (sighs) Oh, man. Guess that's it for me, huh? JACK: Not necessarily. CUT TO: WHITEBOARD TIMELINE: 3 P.M. DBD -- VISITS W. BELL IN PRISON SCENE #25: [INT. FBI - HALLWAY/JACK'S OFFICE -- DAY] (DANNY carries KATE MALONE while showing MARIE and HANNAH where JACK'S OFFICE is.) DANNY: (pointing into the office) Who's that right there? KATE MALONE: Daddy! DANNY: What's up? Are you guys coming in, or...? MARIE MALONE: No, we'll just wait for him in the office. KATE MALONE: I promise I'll be quiet. I want to see daddy. MARIE MALONE: Well, we don't want to bother him while he's working, okay? Come on, guys. (DANNY puts KATE down and gives her a kiss.) DANNY: Bye. (to MARIE) I'll tell Jack you're here. (MARIE MALONE looks into the main office and sees JACK and SAMANTHA talking. SAMANTHA is sitting at her desk while JACK sits nearby on her desk. For a long moment, MARIE stands there and watches the two.) (Finally, MARIE turns and walks into the office to wait for JACK.) (DANNY walks up to JACK and SAMANTHA to let him know that MARIE and his kids are there. JACK stands up.) CUT TO: SCENE #26: [INT. FBI - JACK'S OFFICE] (JACK walks into his office. KATE is sitting behind his desk playing with his rolodex. She looks up at JACK and smiles.) KATE: Daddy! JACK: Hey, sweetheart. You're sitting in daddy's chair. You making all the big decisions today? (He gives her a kiss.) Oh, not ... that's daddy's work, okay? (JACK gently puts his things out of KATE'S reach.) Thank you. (JACK looks up at HANNAH, who sits quietly in the chair.) JACK: Hey, Hannah. How's school? (HANNAH turns her back to her father and doesn't say anything. JACK looks up at MARIE.) CUT TO: SCENE #27: [INT. FBI - HALLWAY OUTSIDE JACK'S OFFICE -- CONTINUOUS] (JACK and MARIE talk in the hallway.) JACK: What's going on? MARIE MALONE: I don't know. Why don't you tell me? JACK: What are you talking about? MARIE MALONE: A man just threatened us, Jack. JACK: Wh-who? MARIE MALONE: At the school. He knew my name. He knew the kid's names. JACK: Look, you just need to calm down, okay? Tell me what happened. MARIE MALONE: Don't tell me to calm down, okay? Don't. You want to keep everything to yourself, that's fine, but not when it comes back to us like this. JACK: Look, just take a deep breath, okay? I can't decipher this. I need you to take me through it step-by-step. What happened? MARIE MALONE: (quietly) I got out of court early today, so I told Carrie I wanted to pick the girls up from school. (She takes a deep breath.) And I'm putting them in the car, and this... this man walks up, and he basically leans into the car, and he starts talking to us ... like he knows us ... and so I said to him, "look, I'm sorry, but, uh, that I didn't know him". And he says ... (pause) ... he says, "You don't want to know me." And then he walks away. JACK: And the girls heard this? MARIE MALONE: Yeah. I don't think that Kate understood this, really, but you know Hannah -- she's a sponge. She knew right away that something was wrong. JACK: What did this guy look like? MARIE MALONE: Huge. Dark hair. JACK: Did he have a ponytail? MARIE MALONE: Yeah ... (stronger) ... yeah. (realizes) So you know who this is? JACK: Yes. I do. MARIE MALONE: (angry) You're dealing with a man who threatens people's families and you don't bother to tell me? JACK: I had no idea. MARIE MALONE: (shouting) Isn't this your job?! JACK: I'm sorry, okay? I'm not a clairvoyant. MARIE MALONE: (quietly) Don't be sorry. Just take care of this, okay? (Angry, MARIE walks away. JACK glances back into the office where HANNAH shows MARIE something in a magazine. Camera holds on JACK.) FADE OUT. (COMMERCIAL SET) FADE IN. SCENE #28: [INT. FBI - VAN DOREN'S OFFICE] (Inside, MARIE helps KATE and HANNAH with their homework.) KATE: I need help. [CLOSED-CAPTIONED: MARIE MALONE: Can you answer this one, hon? CLOSED-CAPTIONED: HANNAH: Kind of. CLOSED-CAPTIONED: MARIE MALONE: All right, so if you know it, okay.] CUT TO: SCENE #29: [INT. FBI - MISSING PERSONS UNIT] (Furious, JACK walks into the main office. He meets up with the rest of the team.) JACK: One of Katan's thugs just threatened my family. SAMANTHA: Are they all right? JACK: They're fine. I'm moving them upstairs into Van Doren's office until tonight, then I'm going to move them to a hotel. VIVIAN: I'll arrange transportation and surveillance. JACK: Chances are if he did this to me, he did it to Wilkins. I want you to get me everything you have on David Wilkins. DANNY: All right. (The TEAM leaves with their assignments.) CUT TO: SCENE #30: [INT. DAVID WILKINS' OFFICE -- DAY] LEGEND: 68 HOURS MISSING (ADA DAVID WILKINS looks through the photographs of the jacket that DELIA RIVERS had tested. JACK and SAMANTHA watch him.) DAVID WILKINS: So? Delia had this jacket tested. SAMANTHA: At an independent forensics lab. These are the results. (SAMANTHA hands the results to DAVID WILKINS. SAMANTHA: Winston Bell is innocent. Delia knew it, she came to you wanting the truth. DAVID WILKINS: That is ridiculous. JACK: Come on, David -- two years ago, you're going after Katan for heroin distribution, he warned you to back off. DAVID WILKINS: You don't know what you're talking about. JACK: Two of his men beat you up on your way home. I've seen the police report. DAVID WILKINS: That was a random mugging! JACK: You refused to back off, so he killed your wife. You withheld exculpatory evidence. You let an innocent man go to jail. Delia was going to expose you, so you gave her up. DAVID WILKINS: No, no, no. I swear to God I didn't. SAMANTHA: Diego Mondesi was her Source. You tipped Freddy off, he killed them both. DAVID WILKINS: Mondesi was not her Source. I asked her. She didn't say who it was, but it wasn't Mondesi. JACK: You expect me to believe that? DAVID WILKINS: I swear to God! (shouting) Jack, he killed my wife! He threatened my children! I was trying to protect my family. (He gets control of himself.) But I would not do that to Delia, I would never do that. I'll help you in whatever way you need. I want this ... over. (SAMANTHA looks at JACK. She leaves the room. JACK looks at DAVID WILKINS and gathers his things. He leaves the room.) CUT TO: SCENE #31: [EXT. SIDEWALK -- DAY] (SAMANTHA and JACK walk to their car.) SAMANTHA: Look, if Delia's source isn't Diego Mondesi, then who is it? (JACK doesn't respond.) Jack? The Source, The Source. If we can find The Source, we night be able to get to Katan. Okay, Benny Ruiz is in jail, right? These goons are just enforcers, so who's close enough to him to be dangerous? JACK: The lawyer. CUT TO: SCENE #32: [INT. FBI - JACK'S OFFICE -- DAY] (PAUL SUMMERS walks into JACK'S office. JACK looks up.) JACK: Mr. Summers. (He clears his throat and stands up to offer his hand.) JACK: Thanks for coming in. We appreciate your cooperation. Please take a seat. (Both men sit down.) PAUL SUMMERS: Exactly what kind of cooperation am I giving? JACK: Well, we're still trying to get to the bottom of what happened to Mr. Mondesi. PAUL SUMMERS: Diego Mondesi was a business associate of my client, and as much as I would like to help you, ... CUT TO: SCENE #33: [INT. FBI - COMPUTER ROOM - DAY -- CONTINUOUS] (MARTIN and VIVIAN work with the computer technician.) PAUL SUMMERS (distorted over mic): ... I am bound by the attorney-client privilege. MARTIN: (to the technician) Pull up Diego's source file. VIVIAN: How did we do with that? MARTIN: Eh, it took 'em awhile, but they got it pretty cleaned up. THE SOURCE: (from the recording) The kid was too much of a bad ass to get rid of the gun. CUT TO: SCENE #34: [INT. FBI - JACK'S OFFICE - DAY -- CONTINUOUS] (JACK continues to question PAUL SUMMERS.) JACK: How long have you worked for Mr. Katan? PAUL SUMMERS: Six years. JACK: Six years. And before that, you worked in a law firm. PAUL SUMMERS: That's right, though I'm not quite sure ... what relevance that has to anything. INTERCUT WITH: [COMPUTER ROOM] (Back in the computer room, the technician manages to do a voice print comparison between THE SOURCE'S voice and PAUL SUMMER'S voice. The computer beeps. They have a Voice Print Match.) [JACK'S OFFICE] (JACK'S phone rings. He answers it.) JACK: Excuse me for a second. (to phone) Hello? [COMPUTER ROOM] MARTIN: (into the phone) It's a match. [JACK'S OFFICE] JACK: Uh-huh. (pause) Thanks. (JACK hangs up.) (to SUMMERS) Uh, no, I was just thinking how unusual it must be to work for a man with such diverse business interests. PAUL SUMMERS: Hmm. JACK: Must scare the crap out of you. PAUL SUMMERS: Excuse me? JACK: I imagine it's not exactly what you signed on for -- working for a man who kills his friends, who's not afraid to threaten a District Attorney or FBI Agent. I don't think it's what your parents had in mind when they pushed you to go to law school. PAUL SUMMERS: I think I'm going to excuse myself. (PAUL SUMMERS gets up off his seat.) JACK: (firmly) Sit down, I'll tell you when you can go! (PAUL SUMMERS sits back down in his seat.) JACK: Now, we know that you ... are Delia's Source. We have matched your voice to the anonymous interview that you gave. It's only a matter of time before Freddy Katan finds out. (JACK and PAUL look at each other for a long moment. PAUL SUMMERS chuckles.) PAUL SUMMERS: You .... you want me to testify? JACK: Well, you had no problems being in the shadow, letting Delia take all the heat. PAUL SUMMERS: I can't. Uh, l-legally, I can't. JACK: You were involved in every aspect of Mr. Katan's day-to-day operations, so that precludes you from your attorney-client privilege, do you understand? PAUL SUMMERS: Even if you can prove that, you can't protect me. I tell you anything, I don't make it through the weekend. (JACK doesn't say anything.) Am I being charged with anything here? JACK: No. PAUL SUMMERS: Then I'm going to leave now. (PAUL SUMMERS leaves the office.) JACK: Have a nice life. What's left of it. CUT TO: SCENE #35: [INT. FBI - HALLWAY -- DAY] (SUMMERS waits for the elevator door to open. It opens and he walks in. Some distance away, JACK and VIVIAN watches.) VIVIAN: Get him? JACK: No. VIVIAN: What next? JACK: Turn up the heat. CUT TO: SCENE #36: [INT. NIGHT CLUB] (MARTIN, SAMANTHA and DANNY walk into the club and through to the back rooms.) (MARTIN holds out his ID.) MARTIN: FBI! Keep your hands where we can see them. MARTIN: Turn around! DANNY: Hey, hey ... SAMANTHA: Keep your hands up! (While MARTIN restrains the club thug, he sticks a microphone to the underside of the table.) DANNY: Well, what do we have here? Oh. Big guy, big gun, huh? (DANNY takes the gun and holds on to it.) SAMANTHA: Ex-felons carrying concealed weapons. Now that's not good. FREDDY KATAN: What the hell are you doing? DANNY: Delia Rivers sends her regards. (He and SAMANTHA, along with the thug in handcuffs, leave the back room. Camera close up of FREDDY KATAN.) CUT TO: [EXT. NEW YORK CITY (STOCK) - NIGHT] SCENE #37: [INT. FBI - COMPUTER ROOM -- NIGHT] (VIVIAN and MARTIN work with the computer technician.) DELIA RIVERS: (on computer) Hi, Jack. It's Delia Rivers. MARTIN: Okay, let's try stripping the "Jack." Leave a space. (The computer beeps.) Now .. let's pull the "Freddy" from her last broadcast at timecode 02:36. (MARTIN looks through his papers as the technician preps the voice pattern.) DELIA RIVERS: (on computer) Freddy Katan issued a statement-- (The computer beeps. The technician cuts out the word and moves it into the pattern they're working to construct.) MARTIN: Drop that in there. (The computer beeps.) DELIA RIVERS: (on computer) Hi, Freddy. It's Delia Rivers. MARTIN: Good. VIVIAN: Okay. Now we need "surprised." It's the one labeled "Slumlords of New York." Timecode 00:47. (VIVIAN looks through her papers to get the timecode.) CUT TO: SCENE #38: [INT. FBI - JACK'S OFFICE -- DAY] (JACK walks into his office. MARIE is working on his desk.) JACK: Hey. MARIE MALONE: Hey. (JACK sits down behind his desk.) JACK: How are the kids? MARIE MALONE: Uh, Kate's making a, uh, Hogwarts Schoolhouse out of paper clips, and ... Hannah managed to find an US magazine with Hilary Duff on the cover, so ... JACK: Who the hell's Hilary Duff? (MARIE looks at JACK.) MARIE MALONE: Her, um... latest obsession. JACK: Right. (For a painfully long moment, they don't say anything to each other.) MARIE MALONE: You got a new lamp. (JACK turns around to look at what MARIE'S talking about.) JACK: Yeah. Uh ... I, uh ... I-I've got a couple. (Again, they don't say anything to each other for a moment.) MARIE MALONE: So you're going to tell me what this is about? JACK: Delia Rivers. MARIE MALONE: I'm sorry. I'm sorry, Jack. I heard about that on the news. JACK: Yeah. (DANNY knocks lightly on the door and opens it.) DANNY: Excuse me, Jack. Miss Malone. We're set. JACK: (to DANNY) Okay. I'll be right there. (to MARIE) Uh, listen ... MARIE MALONE: Go. JACK: It's going to be okay. (JACK stands up and leaves the office.) CUT TO: [EXT. NEW YORK CITY (STOCK) - NIGHT] SCENE #39: [EXT. OUTSIDE CLUB -- NIGHT] (JACK and DANNY sit in the car just outside the club. They listen in on the microphone MARTIN planted earlier under the table.) CUT TO: SCENE #40: [INT. CLUB - BACKROOM - NIGHT -- CONTINUOUS] (In the nightclub's backroom, FREDDY KATAN and PAUL SUMMERS sit alone.) FREDDY KATAN: What did you say to them? PAUL SUMMERS: Nothing. I didn't tell them anything. Don't worry. FREDDY KATAN: You don't want me to worry? PAUL SUMMERS: Why do you seem so nervous? I'm fine. You're the one who's acting paranoid. Look, they don't have anything on us. It's just all bluff. (FREDDY KATAN'S cell phone rings. He turns away from SUMMERS and answers it.) FREDDY KATAN: Yeah. DELIA RIVERS: (from phone) Hi, Freddy. It's Delia Rivers. (pause) Surprised? (pause) Thought you might be. (FREDDY KATAN puts the phone down for a moment.) FREDDY KATAN: (to SUMMERS) It's Delia Rivers. That bitch is supposed to be dead. (Outside, DANNY and JACK listen in.) FREDDY KATAN: (to phone) Where are you? INTERCUT WITH: [INT. FBI - COMPUTER ROOM - NIGHT] (VIVIAN signals the computer technician to play the next sequence. The computer beeps.) DELIA RIVERS: (over phone) Just wanted you to know the FBI knows everything. You're time's up. (VIVIAN signals for the call to end. The technician ends the call. The computer beeps. There's nothing but dial tone on the phone.) (FREDDY KATAN puts the phone away. He finishes his drink and puts the glass down.) FREDDY KATAN: (yells frustrated) What the hell is going on?! PAUL SUMMERS: I don't know. I don't know. How should I know? FREDDY KATAN: This is not... possible. Diego ... said he killed her. (FREDDY KATAN walks up behind SUMMERS. He takes out his gun.) PAUL SUMMERS: Well, maybe you should have gotten confirmation before you shot Diego. CUT TO: SCENE #41: [EXT. CAR OUTISDE NIGHT CLUB - NIGHT -- CONTINUOUS] (DANNY looks at JACK.) JACK: We got enough. Let's go. (They exit the car.) CUT TO: SCENE #42: [INT. CLUB - BACKROOM - NIGHT -- CONTINUOUS] (FREDDY KATAN puts the gun on the table in front of PAUL SUMMERS. He leans in to him.) FREDDY KATAN: I don't like the way you look. PAUL SUMMERS: What are you talking about? FREDDY KATAN: You look a lot like a rat. Are you a rat, summers? CUT TO: SCENE #43: [INT. CLUB - MAIN ROOM - NIGHT -- CONTINUOUS] (DANNY and JACK walk through the club to get to the back room.) CUT TO: SCENE #44: [INT. CLUB - BACKROOM - NIGHT -- CONTINUOUS] (PAUL SUMMERS takes a breath and holds out a steadying hand.) PAUL SUMMERS: Okay, just calm down, Freddy. All right? I didn't ... FREDDY KATAN: Are you wearing a wire? (Furious, FREDDY turns on SUMMERS and rips open his dress shirt to check.) CUT TO: SCENE #45: [INT. CLUB- NIGHT -- CONTINUOUS] (JACK and DANNY walk through the dance club.) CUT TO: SCENE #46: [INT. CLUB - BACK ROOM - NIGHT -- CONTINUOUS] (PAUL SUMMERS cowers at FREDDY'S uncontrollable outburst.) PAUL SUMMERS: No... no! (FREDDY picks up the gun off the table and points it at SUMMERS.) FREDDY KATAN: Well, let's start over again, huh? Let's put things together. (FREDDY paces the floor.) What? It wasn't Diego? PAUL SUMMERS: No. It ... FREDDY KATAN: Who else could it be? CUT TO: SCENE #47: [INT. CLUB - HALLWAY - NIGHT - CONTINUOUS] (DANNY and JACK turns the corner to the hallway.) CUT TO: SCENE #48: [INT. CLUB -- BACKROOM - NIGHT - CONTINUOUS] (FREDDY KATAN turns the gun on SUMMERS. SUMMERS flinches.) FREDDY KATAN: What did they say to you? PAUL SUMMERS: I didn't ... I didn't ... I didn't say anything. FREDDY KATAN: What kind of deal did they make to you? What did they do? PAUL SUMMERS: Freddy, no FREDDY KATAN: What did they do? PAUL SUMMERS: Nothing. Freddy, I didn't say anything! (JACK and DANNY approach the doorway. JACK looks inside.) JACK: (to DANNY) Circle around the back. PAUL SUMMERS: Nothing, nothing. (JACK takes out his gun and points it at FREDDY KATAN. JACK enters the room.) JACK: Put the gun down, Freddy! (FREDDY turns around and grabs SUMMERS. He has his arm around SUMMERS' neck and the gun at his head.) FREDDY KATAN: Back off or he's dead. (JACK takes a couple steps forward.) JACK: I'm not going anywhere. FREDDY KATAN: I said, back off or he's dead. JACK: Go ahead, shoot him. Do what you got to do. Shoot him. FREDDY KATAN: Are going to kill him? JACK: You're going to. No. You're going to shoot him. (JACK continues to move forward. FREDDY moves backward with SUMMERS. The two continually yell at each other.) JACK: Shoot him. You think I give a crap? FREDDY KATAN: Come on! JACK: Shoot him, shoot him! FREDD KATAN: Come on! JACK: (shouting) Shoot him! FREDDY KATAN: (panicking) You shoot him. Come on ... JACK: (shouting) Shoot him! Shoot him! FREDDY KATAN: (shouting) Let go! (DANNY whispers into FREDDY KATAN'S ear, his gun pointed at the back of FREDDY'S head.) DANNY: Relax, Freddy. Relax. Hand me the gun. Hand me the gun, Freddy. (FREDDY hands DANNY the gun. He lets PAUL SUMMERS go. He stands there as he has two guns pointed at him, one in the face and the other behind his head.) JACK: It's your lucky day, pal. (JACK doesn't put his gun down until DANNY cuffs FREDDY. He takes FREDDY away. DANNY: Come on. (Camera holds on JACK.) CUT TO: SCENE #49: [INT. FBI - VAN DORAN'S OFFICE - EARLY MORNING] (Inside the office on the couch, HANNAH and KATE sleep. MARIE MALONE checks in on her girls and pulls the covers up over KATE.) (JACK walks into the office.) MARIE MALONE: Are we going to the hotel? JACK: No. I'm going to take you home. It's over. MARIE MALONE: (nods) Are you all right? JACK: Yeah. I'm ... fine. I promise you, it's, um ... (He reaches down to clasp MARIE'S hand.) ... it's really over. (HANNAH'S eyes flutter open. She looks over at her mom and dad and sees them holding hands. She smiles and closes her eyes.) CUT TO: SCENE #50: [INT. FEDERAL PRISON -- DAY] (JACK talks with WINSTON BELL.) WINSTON BELL: You find Delia? JACK: Unfortunately not. WINSTON BELL: You think she's dead? JACK: Yes. WINSTON BELL: Oh, man. (WINSTON looks down and around. He sniffles and sighs.) JACK: She did right by you. Your paperwork is being processed. You're being released from here. (WINSTON looks up at JACK with eyes that he can hardly believe what he just heard.) WINSTON BELL: Are... are you serious? JACK: Yes. WINSTON BELL: Thank you. JACK: Don't thank me. Thank Delia. (Tears run down WINSTON BELL'S cheeks.) CUT TO: SCENE #51: [INT. FBI - MISSING PERSONS UNIT -- DAY] (Open on the dark and empty office.) (Dissolve to: People appear in the office.) (Dissolve to: More people appear in the office.) REPORTER (WOMAN): (v.o.) In the wake of Assistant District Attorney, David Wilkins' resignation, an investigation is being launched into the D.A's handling of various cases. And the governor has decreed that a ... (JACK walks into the office.) CUT TO: SCENE #52: [INT. NEWSROOM -- DAY] (DELIA'S EDITOR walks toward the doorway of her office. She leans against the doorframe and looks out into the newsroom at DELIA RIVER'S empty desk. As she watches, she visualizes DELIA sitting there as she's done every day, talking on the phone.) REPORTER 2 (MAN): (v.o.) Freddy Katan, who allegedly masterminded the attempt to get the D.A. to drop the drug investigation, has been charged with the death of Diego Mondesi. And Winston Bell, the subject of Delia Rivers final report, is scheduled to be released next week from death row. (DELIA RIVERS looks up at her friend, the EDITOR and smiles. With a pencil in her hand, she signals and points at the phone.) REPORTER 3 (WOMAN): While search for Delia Rivers continues, police have yet to find her body, but her memorial service will be held on Saturday. (With great sadness, she watches as DELIA RIVERS continues to talk and signal to her. DELIA sends her a big ole wink and a smile as she talks on the telephone.) (DELIA'S EDITOR looks out at DELIA'S empty desk.) CUT TO: SCENE #53: [INT. FBI - MISSING PERSONS UNIT -- DAY] (JACK walks through the office and up to the Whiteboard.) LYNNE DANIELS: (v.o.) Lynne Daniels for WNKN news. MARK LATHAM: (v.o.) Mark Latham, headline news. CHRIS MORTON: (v.o.) This is Chris Morton, filling in for Delia Rivers, Channel Six News Crimestop. (He stands there and looks at the photo of DELIA RIVERS. He pulls the photo down, still looking at it. Case Closed.) FADE OUT. ======================== THE END ======================== [Captioning sponsored by CBS and Warner Bros. Television Captioned by Media Access Group at WGBH access.Wgbh.Org] Courtesy of http://www.webphilia.com/~anthology/wnp.html Contact the Transcriptionist at (intrepidly002@yahoo.com) Please do not archive without permission. ======================== BEGINNING/TITLE CREDITS ======================== WITHOUT A TRACE 1X18: THE SOURCE ORIGINAL AIR DATE ON CBS: 04/03/2003 TRANSCRIBED FROM CBS Starring ANTHONY LaPAGLIA as Jack Malone POPPY MONTGOMERY as Samantha Spade MARIANNE JEAN-BAPTISTE as Vivian Johnson ENRIQUE MURCIANO as Danny Taylor ERIC CLOSE as Martin Fitzgerald Created by: HANK STEINBERG Guest Starring DAN BUTLER as Summers JOSH HOPKINS as Eric Keller PATRICK FABIAN TALIA BALSAM as Marie Malone JULIE DRETZIN GRETCHEN EGOLF CHRISTIAN CAMARGO MAN ANDREWS APRIL GRACE Producer: PAULHOLAHAN Producer: JAN NASH Producer: GREG WALKER Produced by: SCOTT WHITE Co-executive Producer: JACOB EPSTEIN Executive Producer: HANK STEINBERG Executive Producer: JONATHAN LITTMAN Executive Producer: ED REDLICH Teleplay by JAN NASH & GREG WALKER Story by: HANK STEINBERG Directed by: PETER MARKLE ======================== END CREDITS ======================== JERRY BRUCKHEIMER Television CBS Productions Warner Bros. Television, An AOL Time Warner Company www.warnerbros.com Associate Producer: NANCY VAN DOORNEWAARD Executive Story Editor: ALLISON ABNER Director of Photography: JOHN PETERS Production Designer: AARON OSBORNE Edited by: JOHN SHOWALTER Music by PETER MANNING ROBINSON Theme by JOHNNY KLIMEK and REINHOLD HEIL Unit Production Manager: SCOTT "The Bear" MAITLAND 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. Co-Starring JAMES DISTEFANO as Sal Barrone ROBERT DOLAN as George Dunlop VANESSA MARANO as Hanna LAURA MARANO as Kate Technical Advisor: MARK LLEWELLYN Set Decorator: JEANNIE GUNN, S.D.S.A. Property Master: JOHN HARRINGTON Costume Designer: ANE CRABTREE Costume Supervisor: SUE BUB Make-up Artist: TINA ROESLER KERWIN Hairstylist: STEPHEN A. ELSBREE Production Sound Mixer: JAY PATTERSON, C.A.S. Production Coordinator: REID NAKAMURA Assistant Editor: CRAIG WEISEMAN Supervising Sound Editor: VICTOR IORILLO Music Supervisor: JASON ALEXANDER Music Editor: DAN RAZIEL Re-recording Mixers: YURI REESE / BILL SMITH Film Processing by FOTOKEM Main Title Design by SKIP FILM Visual Effects by CREO cbs.com FBI Technical Advisor: DENNIS BONELLI The producers wish to thank the New York office of the FBI for their help and cooperation. The characters and events depicted in this motion picture are fictional. Any similarity to any actual person, living or dead, or to any actual events, firms, and institutions or other entities, is coincidental and unintentional. This motion picture is protected under the Laws of the United States and other countries, and its unauthorized duplication, distribution or exhibition may result in civil liability and criminal prosecution. Copyright 2003 Warner Bros. Television. All Rights Reserved Country of first publication United States of America 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:04/05/2003~lky http://www.webphilia.com/~anthology/wnp.html