WITHOUT A TRACE 1X05: SUSPECT ORIGINAL AIR DATE ON CBS: 10/24/2002 TRANSCRIBED FROM CBS Written by ALLISON ABNER Directed by PETER MARKLE Transcript by Intrepid Courtesy of http://www.webphilia.com/~anthology [Captioning sponsored by CBS and Warner Bros. Television] (Brought to you in HDTV by SAMSUNG DIGITall everyone's invited.) Please do not archive without permission. RATING: TV-14-L ========================== DISCLAIMER: ========================== "WITHOUT A TRACE" and other related entities are owned, (TM) and (c) by JERRY BRUCKHEIMER Television, CBS Productions, and Warner Bros. Television (an AOL Time Warner Company). All Rights Reserved. This transcript was made without their permission, approval, authorization or endorsement. Any reproduction, duplication or distribution of this material in any form is expressly prohibited. It is absolutely forbidden to use it for commercial gain. Leave the headers/disclaimers in tact because it lists all those who have painstakingly made this transcript possible for your enjoyment and provide a link back to the site where this file originated http://www.webphilia.com/~anthology For corrections / inaccuracies, please contact the Transcriptionist at (intrepidly002@yahoo.com) ========================== SUMMARY: A teenage boy is missing and the only person who knows where he is is the suspect. ========================== WITHOUT A TRACE 1X05: SUSPECT ========================== FADE IN. [EXT. NEW YORK (STOCK) - DAY] [EXT. SPAULDING ACADEMY BOARDING SCHOOL - DAY] DISSOLVE TO: SCENE #01: [EXT. SPAULDING ACADEMY BOARDING SCHOOL - DAY] (A group of teenage kids are hanging out on the school grounds under the trees. They're smoking cigarettes and having a good time. PHOEBE BURNELL arrives carrying a large paper package. She sits next to a dark-haired TEENAGE BOY and pulls out a six pack of beer from the paper bag.) TEENAGE BOY: Where'd you score that? PHOEBE BURNELL: Mike, the groundskeeper. TEENAGE BOY: You got enough for you? PHOEBE BURNELL: Paid 15 bucks for it. ANDY DEAVER: Mike sounds pretty cool. PHOEBE BURNELL: You want one? TEENAGE BOY: No. (PHOEBE BURNELL laughs and playfully hits her friend on the shoulder. She holds out the beer bottle to ANDY DEAVER.) PHOEBE BURNELL: Come on. ANDY DEAVER: All right. (ANDY DEAVER takes the bottle and looks at the label. Through the trees, the headmaster, GRAHAM SPAULING, arrives. ANDY DEAVER sees the headmaster and stands. PHOEBE BURNELL and her friend remain on the ground sitting.) ANDY DEAVER: Mr. Spaulding? GRAHAM SPAULDING: All right hand it over. The beer -- give it to me. (The kids sigh. Each hands their bottle back to PHOEBE, BURNELL who puts it back in the paper bag. She hands over the package to GRAHAM SPAULDING.) GRAHAM SPAULDING: And the cigarettes. (A dark-haired boy puts out his cigarette and stands. One of the other girls hands over the beer bottle she's holding.) GRAHAM SPAULDING: All right now, go back to the dorms and wait for me. (The kids all stand and disburse. ANDY DEAVER follows them. He's stopped by the Headmaster.) GRAHAM SPAULDING: Andy come here. I'd like to have a word with you. (PHOEBE BURNELL turns around slightly. She then heads on back to the dorms with the rest of the kids. ANDY DEAVER remains behind. GRAHAM SPAULING takes his beer bottle from him and adds it to the package. The two stand and talk.) (Over this, we hear JACK MALONE give the case background.) JACK MALONE: (v.o.) Andy Deaver, a 17-year-old junior at Spaulding Academy Boarding School. (GRAHAM SPAULDING points over to the ground by the bushes. ANDY DEAVER goes over and picks up the last bottle of beer which he hands to GRAHAM SPAULING. He puts it in the package with the other beer bottles.) JACK MALONE: (v.o.) He apparently told some other students he was leaving for good that night. We're not sure why. Headmaster Graham Spaulding was the last one to see him. (ANDY DEAVER turns to head back to the dorms. GRAHAM SPAULDING follows. He puts a hand on ANDY DEAVER'S shoulder as they slowly walk off frame. ANDY DEAVER vanishes.) JACK MALONE: (v.o.) Andy never made it home. DISSOLVE TO: SCENE #02: [EXT. SPAULDING ACADEMY BOARDING SCHOOL -- DAY] LEGEND: 17.5 HOURS MISSING (A POLICE OFFICER walks with DANNY to the same spot under the trees.) POLICE OFFICER: Spaulding says Andy left campus at around 6:30 P.M. About ten minutes after the other kids got back to their dorms. DANNY: When did the call come in from his parents? POLICE OFFICER: Midnight. He was driving the family car -- same one we found on route 34 a couple miles from here. It had a flat tire. One of my guys called it in at 2:45 A.M. Doors unlocked, keys in the ignition, tire jack on the ground. DANNY: You run it through forensics? POLICE OFFICER: Not exactly, yet. DANNY: What do you mean, "not exactly, yet"? POLICE OFFICER: We, uh, we've been trying to keep kids from drinking in the woods. We had the car ticketed and towed to impound. (DANNY sighs.) DANNY: Your canine unit get any hits? POLICE OFFICER: We had them sniff the woods but they kept coming back to where the car was. DANNY: Okay. We're going to take it from here, okay? (DANNY walks off camera frame. The camera moves slightly and we find JACK interviewing GRAHAM SPAULDING.) GRAHAM SPAULDING: I told Andy that he really impressed me in his two years here. I ... I didn't understand why he was leaving. JACK: You didn't call his parents? GRAHAM SPAULDING: Well, I thought it was temporary. You know, with some kids, you have to give them just a little bit of rope. JACK: So, what happened after you spoke? GRAHAM SPAULDING: Well, he headed off to his car and ... and home, I guess. (For a moment, JACK merely stands there and watches the Headmaster without asking his next question. GRAHAM SPAULING nods his head.) JACK: Forgive me for saying this but you don't seem particularly concerned. GRAHAM SPAULDING: Well, in my position I have to maintain a certain amount of calm. To tell you the truth all of these kids are extremely bright and quite frankly, many of them would have difficulty in another school. We have kids who-who take off and come back in a week or so with some excuse from their parents. JACK: Right. So, you run a pretty lenient ship? GRAHAM SPAULDING: I never saw being strict work with any kid. JACK: All right, all right. Well, we're going to have to do a more extensive search of the campus and the surrounding grounds, if that's okay. GRAHAM SPAULDING: Absolutely. Anything at all. As a matter of fact ... (GRAHAM SPAULDING reaches into his coat pocket and pulls out a checkbook and pen.) JACK: What's that? GRAHAM SPAULDING: A reward. $15,000 for help, information, whatever. I didn't know who to make it out to. (JACK watches GRAHAM SPAULDING. He doesn't seem impressed by the man's offer for a reward.) JACK: (flatly) FBI, Department of Justice. (GRAHAM SPAULDING writes out the check. During the entire time, JACK stands there and watches GRAHAM SPAULING.) GRAHAM SPAULDING: Ah. (The headmaster hands the check to JACK.) JACK: That's, uh, very generous. I'll make sure you get a receipt. GRAHAM SPAULDING: Yes, well ... I should get back. With all this going on and 300 adolescents, you could imagine the anxiety. (GRAHAM SPAULDING turns and starts to leave. JACK calls out to him.) JACK: Of course. I am going to need to speak to you again. GRAHAM SPAULDING: Naturally. JACK: Terrific. GRAHAM SPAULDING: Until then. (GRAHAM SPAULDING walks away. JACK stands there watching him. DANNY appears next to JACK. JACK turns away.) JACK: Don't take your eyes off that guy. CUT TO: [INT. FBI - MISSING PERSONS UNIT - WHITEBOARD] WHITEBOARD: "ANDY DEAVER" 7A-NY-11452 (The camera moves forward to focus on the photo of ANDY DEAVER.) FADE TO WHITE END OF TEASER ROLL TITLE CREDITS (COMMERCIAL SET) [EXT. NEW YORK CITY (STOCK) -- DAY] SCENE #03: [INT. FBI - MISSING PERSONS UNIT -- DAY] LEGEND: 19 HOURS MISSING (The scene opens with SAMANTHA walking across the room holding a file. She's giving her report as she walks toward the conference table, where she puts her things on the table and takes her seat.) SAMANTHA: Graham Spaulding, 43, divorced, no children. Lived in phoenix from '90 to '96 Atlanta '96 till last year. He is a retired veterinarian, sold his practice moved down here to take over the school last year after his father died. JACK: With what qualifications, looking after animals? SAMANTHA: Well, high school's pretty rough these days. JACK: Hilarious. SAMANTHA: Graham's chief qualification seems to be that his father was Alfred Spaulding who founded the school in 1956. VIVIAN: Girlfriend? SAMANTHA: Nope, lives alone. JACK: Any priors? SAMANTHA: Mm-mm, record's clean. VIVIAN: What about his alibi? JACK: Says he was reviewing mid-semester evaluations at home. (MARTIN walks up to the conference table at this point. He's holding up a file of information. He gives his report was he walks to the table where he takes his seat along with the rest of the team, sans DANNY.) MARTIN: Got forensics back on the car. Multiple prints, including those of Mr. Graham Spaulding. The tire wound is inconsistent with a moving blowout. It's a sidewall puncture, probably a screwdriver. JACK: How far away from the campus is the car? MARTIN: Three and a half miles. JACK: So somebody drove that car on the side of the road made it look like a flat. MARTIN: Mm-hmm, and they left the car jack there, too. SAMANTHA: Nice touch. JACK: Mmm. Okay, we have to play this very carefully. If Spaulding has the kid, he may try and get back to him. We have to have a 24-hour surveillance ... VIVIAN: If he smells us, he won't make a move. JACK: That's the dance -- we have to focus on Spaulding without him realizing he's the prime suspect. SAMANTHA: Best case, the kid can survive 72 hours without water. That leaves us 58 hours. JACK: So, Viv, I need you to set up meetings with the other faculty members to make it look like Spaulding's not the only one. Martin and Samantha I want you to talk to all the students that you can. Find out as much information about Spaulding and his relationship with Andy. (SAMANTHA and MARTIN stand up.) SAMANTHA AND MARTIN: Got it. CUT TO: SCENE #04: [EXT. SPAULDING ACADEMY BOARDING SCHOOL -- DAY] LEGEND: 19.5 HOURS MISSING (GRAHAM SPAULDING walks along campus. He lifts a hand in greeting to someone off screen. A man carrying a newspaper walks casually by him. He glances back after they pass. A man with a coffee cup gets up from the table and walks in the same direction that the headmaster is going.) (DANNY is standing behind a tree. He speaks into a hand-held communication device.) DANNY: SOG surveillance is in place on Spaulding. CUT TO: SCENE #05: [INT. SPAULDING ACADEMY - ANDY DEAVER'S ROOM - DAY] VIVIAN: It seems as though he left in a hurry. MRS. DEAVER: He must've but for the life of me, I can't imagine why. He loved it here. VIVIAN: Can you tell me about the phone call last night? MRS. DEAVER: He sounded so ... distressed. (As she talks, the camera pans over to the window side of the room where it meshes into a flashback scene. ANDY DEAVER appears. He's pacing the floor while talking to his mother on the phone.) ANDY DEAVER: (to phone) Mom, I just don't want to be here anymore. MRS. DEAVER: (from phone) But I thought everything was going great. ANDY DEAVER: (to phone) Well, it's not. INTERCUT WITH PRESENT: (MRS. DEAVER is standing inside the doorway next to VIVIAN. She watches ANDY pacing the room while he's on the phone. She smiles.) MRS. DEAVER: Andy, does this have something to do with that girl, hmm? ANDY DEAVER: (to phone) I don't want to talk about it. I just want to come home. MRS. DEAVER: Well, I ... I want to speak to Mr. Spaulding about this first. ANDY DEAVER: (to phone) No! Mom ... please. This has nothing to do with him. MRS. DEAVER: Andy ... ANDY DEAVER: Don't worry, okay? (ANDY DEAVER stops pacing the room floor and sits down on his bed.) ANDY DEAVER: (over phone) I'll see you in a couple of hours. (ANDY DEAVER vanishes. End of flashback. Resume to present.) VIVIAN: But you didn't call Mr. Spaulding? MRS. DEAVER: No, I ... I thought we'd talk about it when he got home. VIVIAN: What was Andy's relationship like with Mr. Spaulding? MRS. DEAVER: Well, uh, pretty close, I think. Um, his father left us when he was six and ... well, he has a tendency to get attached to the men in his life. VIVIAN: And you spoke about a girl. Was there someone in particular? MRS. DEAVER: Oh ... I don't know. He came home last weekend and he spent the whole time ... um ... oh, what do you call it? Uh, burning a CD for her. But of course he wouldn't tell me who she was. CUT TO: SCENE #06: [INT. SPAULDING ACADEMY -- DAY] SAMANTHA: So, you and Andy worked in the office together? PATRICK McCULLOUGH: Yeah, it's supposed to be an honor or something. SAMANTHA: An honor? PATRICK McCULLOUGH:: Mr. Spaulding picks certain kids he says deserve it. So, that's how I know Andy. SAMANTHA: What's Andy like? PATRICK McCULLOUGH: I don't know ... pretty shy, keeps to himself. SAMANTHA: How was he yesterday? INTERCUT FLASHBACK OF ANDY DEAVER WITH PRESENT: (The camera pans and ANDY DEAVER appears. He walks across the room carrying a file folder toward the computer table. He sits down and opens his folder.) PATRICK McCULLOUGH: (o.s.) Same as always -- did his work, didn't say much. SAMANTHA: Any idea why he would have wanted to leave school? PATRICK McCULLOUGH: (o.s.) He's not too popular here. I figured maybe that was it. (ANDY DEAVER puts his hands on the keyboard getting ready to type. He vanishes. End of flashback. Resume to present.) (SAMANTHA smiles a bit.) SAMANTHA: Does he have a girlfriend? PATRICK McCULLOUGH: (scoffs): Nah. Andy? SAMANTHA: Come on, he must have liked someone. PATRICK McCULLOUGH: Phoebe Burnell, but everybody likes her. Andy didn't stand a chance. SAMANTHA: That's a cool tattoo. (PATRICK glances down at his arm.) PATRICK McCULLOUGH: Oh. Yeah, that was stupid. SAMANTHA: Why is that? PATRICK McCULLOUGH: 'Cause I can never take it off. (GRAHAM SPAULDING enters the room and approaches the two.) GRAHAM SPAULDING: How's it going in here? PATRICK McCULLOUGH: Fine. GRAHAM SPAULDING: Is he being helpful? (SAMANTHA smiles.) SAMANTHA: Very. GRAHAM SPAULDING: You know, technically, he needs to be with a parent or guardian when he's questioned, but I realize that time is of the essence here. (GRAHAM SPAULDING takes a seat. He looks at SAMANTHA.) GRAHAM SPAULDING: Ah ... please. Continue. (PATRICK McCULLOUGH looks at SAMANTHA.) SAMANTHA: Actually, we're pretty much done here. (to PATRICK McCULLOUGH) Thank you. CUT TO: SCENE #07: [EXT. SPAULDING ACADEMY -- DAY] LEGEND: 21 HOURS MISSING PHOEBE BURNELL: I can't believe all of this. I just saw him yesterday. MARTIN: How well do you know Andy? PHOEBE BURNELL: We have a couple of classes together. MARTIN: Have you two ever dated? PHOEBE BURNELL: No. MARTIN: Think he might have a crush on you? PHOEBE BURNELL: I don't know. MARTIN: What about the CD he made for you? PHOEBE BURNELL: What? MARTIN: Why, he didn't give it to you? PHOEBE BURNELL: No. (She thinks about it a moment, then remembers something.) PHOEBE BURNELL: Oh, my god -- that's what that was about. Yesterday ... We were right over here when Andy walked up to me. (PHOEBE BURNELL looks over a distance away from where she's standing.) (Quick flashback to PHOEBE BURNELL walking with two other girls along a path. ANDY DEAVER walks up to them.) ANDY DEAVER: Hey, Phoebe. PHOEBE BURNELL: Hi. What's up? ANDY DEAVER: Um ... (ANDY looks nervously at the other girls. PHOEBE smiles and looks at them. The two girls leave.) ANDY DEAVER: Did you, uh ... did you need the notes from Chem? I know you missed class Tuesday, so ... PHOEBE BURNELL: Oh, that's sweet. I got them from Hannah. ANDY DEAVER: Oh. Well, I-I have something for you. (ANDY starts to dig into his backpack when GRAHAM SPAULDING walks up to the two of them.) GRAHAM SPAULDING: Andy, aren't you supposed to be covering the phones? ANDY DEAVER: Yeah, I was ... I was just about to. GRAHAM SPAULDING: It'd be great if you could get back down there. We're swamped. ANDY DEAVER: In just a sec? PHOEBE BURNELL: I should go. I'm going to be late for class. Thanks. (PHOEBE BURNELL leaves ANDY with GRAHAM SPAULDING. The headmaster puts an arm out on ANDY'S shoulders. ANDY takes a step forward to avoid contact. He walks, almost runs, away from the Headmaster.) (End of flashback. Resume to present.) PHOEBE BURNELL: God, if that's the last time I ever see him and he was trying to ... MARTIN: Wasn't he at the grove later? PHOEBE BURNELL: Oh, yeah. I almost forgot. And it was weird because Mr. Spaulding showed up there, too. CUT TO: [EXT. NEW YORK CITY (STOCK) -- DAY] SCENE #08: [INT. FBI - MISSING PERSONS UNIT -- DAY] LEGEND: 22.5 HOURS MISSING (MARTIN rolls out some blueprints on the conference table. SAMANTHA walks up next to him.) SAMANTHA: What's this? MARTIN: Hey. (MARTIN indicates the blueprints on the table.) MARTIN: It's the blueprints of Spaulding's house. Take a look at this. (MARTIN picks up another piece of paper and shows it to SAMANTHA.) MARTIN: Six weeks ago Spaulding put in for a permit to build an 8 x 10 foot room in his basement-- 12 electrical outlets, plumbing ... (SAMANTHA hands the paper back to MARTIN.) SAMANTHA: Extra bathroom? MARTIN: No. The house already has three. Plus, this permit doesn't cover a toilet. And this room has no windows or doors leading to the outside. SAMANTHA: A holding cell. MARTIN: Or worse. You think we have enough for a warrant? SAMANTHA: Let's find out. (SAMANTHA leaves.) CUT TO: SCENE #09: [EXT. SPAULDING ACADEMY -- DAY] (MARTIN is talking with JACK as they walk across the school grounds.) MARTIN: Spaulding's house is a half a mile away from the school. JACK: Andy was never seen entering or leaving the house. MARTIN: Yeah, but with all the circumstantial evidence ... JACK: Still don't have probable cause. MARTIN: This kid could be down in some torture chamber in Spaulding's basement and you think this guy's guilty so what are we doing? JACK: Danny, come in. INTERCUT WITH: (DANNY is standing behind a column of a building. His communication device beeps. He answers it.) DANNY: Go ahead. JACK: Where is he? (DANNY turns around and watches GRAHAM SPAULDING enter the building.) DANNY: He's going into the administration building. JACK: Okay, I want you and Martin to head over to his house. Inspect the grounds. See what's visible through the windows. I'll stay on Spaulding. DANNY: Sounds good. CUT TO: SCENE #10: [EXT. GRAHAM SPAULDING'S RESIDENCE -- DAY] (DANNY peers in through the window. He walks to another window and looks in. He cocks his head to the side and listens.) (Through the glass windows, MARTIN can be seen on the other side of the house looking through the windows to the same room. DANNY moves to the door, opens it and listens some more.) (Cut to MARTIN on the other side of the house. He's looking through the window and sees DANNY. MARTIN makes his way around the house to DANNY. He rounds the corner.) MARTIN: What's up? DANNY: I think I heard something inside. (DANNY indicates the door.) DANNY: Listen. (MARTIN stands still and turns his head to the side, listening. He shakes his head. He doesn't hear anything. MARTIN looks at DANNY.) MARTIN: You think you heard, or you did hear? CUT TO: SCENE #11: [EXT. SPAULDING ACADEMY - ADMINISTRATIVE OFFICE -- DAY] (JACK is standing in front of the school trophy display case. Behind him, GRAHAM SPAULDING calls out from the doorway to his office.) GRAHAM SPAULDING: Got any new leads? (JACK turns around.) JACK: Actually, it's too early to tell if any of the leads are real. (GRAHAM SPAULDING makes his way leisurely toward JACK. JACK turns back to the display case.) JACK: Your father looks like he was an imposing man. (Camera cuts to the framed photograph in the display case. GRAHAM SPAULDING stops near JACK and also turns to look at the picture.) GRAHAM SPAULDING: One could interpret it that way, I suppose. JACK: You went to school here? GRAHAM SPAULDING: Class of '74. JACK: Must have been difficult -- having your father be the headmaster. GRAHAM SPAULDING: My father was a strong and supportive man. Many of these kids can't say that. JACK: No, I meant you must have had a rough time from the other students. GRAHAM SPAULDING: No. I was pretty popular, actually. JACK: Really? GRAHAM SPAULDING: And what about you ... Agent Malone? JACK: Moved around a lot. Father was in the Army. By all accounts, I was pretty miserable. GRAHAM SPAULDING: Hmm. That's a shame. JACK: Mmm. It is. (GRAHAM SPAULDING doesn't respond. He watches JACK closely.) JACK: But it made me think of the conversation we had earlier about Andy and how fortunate your students are that they have someone that has their best interests at heart. GRAHAM SPAULDING: Thank you. (SPAULDING smiles. And as if something has just occurred to him, he nods his head in apology.) GRAHAM SPAUDLING: I must be getting back to my house. I need to make some phone calls. JACK: Sure. GRAHAM SPAULDING: Worried parents -- you understand. JACK: Yes, of course. (GRAHAM SPAULDING is suddenly in a rush. He turns and starts walking back to his office. He calls back to JACK.) GRAHAM SPAUDLING: I trust that you can find your own way out. JACK: Sure. Absolutely. (JACK is already reaching for his two-way radio.) JACK: (softly) Danny, come in. INTERCUT WITH: [EXT. GRAHAM SPAULDING RESIDENCE - DAY - CONTINUOUS] (MARTIN is pacing the walkway outside the SPAULDING residence. The two-way radio chirps and he answers it.) MARTIN: Yeah, go ahead. JACK: Spaulding's on his way back. Get out of there. MARTIN: Danny's in the house. JACK: What the hell ... what are you guys doing? MARTIN: He thought he heard something. CUT TO: SCENE #12: [INT. GRAHAM SPAULDING RESIDENCE - DAY -- CONTINUOUS] (DANNY is indeed inside the house. He's in the doorway to the kitchen when he hears a soft whimpering sound. DANNY freezes and reaches for his gun.) (He quickly and quietly heads in the direction of the whimpering.) (DANNY passes the living room and continues in deeper to the house to where the sounds are coming from. He stops next to a door in the bathroom at the end of the hall. He tries it and finds that its locked. He puts his gun away and takes out something to unlock the door. He manages to get the door unlocked. Before opening it, he arms himself.) (DANNY opens the door.) [INT. THE BASEMENT - CONTINUOUS] (The doorway leads down the basement. DANNY turns on the light and continues down the stairs. It's a photographer's dark room. The light casts the room in red.) MARTIN: Danny? Danny, Spaulding's on his way back. You got to get out of there. Danny? (DANNY doesn't answer. He continues down the stairway. Tied to the base of the stairs is a large German Shepherd.) DANNY: (gently) Hey, boy. (DANNY holds out his hand and the dog simply sits there.) DANNY: Hey. That's a good boy. (The dog whimpers.) DANNY: That's a good boy. CUT TO: SCENE #13: [EXT. SPAULDING RESIDENCE - DAY -- CONTINUOUS] MARTIN: (to the two-way radio) Danny? (MARTIN pulls the radio away from his ear and walks up to the door.) MARTIN: (whispering): Danny. Danny. CUT TO: SCENE #14: [INT. SPAULDING RESIDENCE - DAY -- CONTINUOUS] (Inside the house, DANNY notices all the developing pictures hung up to dry. We see picture after picture of the boys playing volleyball.) (DANNY looks around some more. On the shelf, he finds a large photo album. He opens it and starts going through it.) CUT TO: SCENE #15: [EXT. SPAULDING RESIDENCE - DAY -- CONTINUOUS] (GRAHAM SPAULDING's car makes its way back to the house.) (Cut to MARTIN standing outside the walkway. He peers around the corner of the house and sees the car approaching. He tries to reach DANNY on the radio.) MARTIN: (to radio) Spaulding just pulled up. Get out of there. (GRAHAM SPAULDING parks the car in front of the front door. He gets out of the car, buttons his jacket and heads for the front door.) MARTIN: (to radio) He's on his way into the house, man. (MARTIN remains where he is. He turns around and looks in through the window at the front door. Through the windows, we see GRAHAM SPAULDING walking very fast to the front door.) MARTIN: (to radio) What the hell are you doing in there? He's entering the house now. (Cut to GRAHAM SPAULDING inside the house.) (Cut back to MARTIN outside the house keeping an eye on GRAHAM SPAULDING.) MARTIN: (to radio) He's in the house. I repeat, suspect is in the house. (MARTIN heads toward the side door, reaching for his gun as he gets there. Just as he draws his gun, DANNY slips out the side door.) MARTIN: (quietly) Did you hear me? (DANNY smiles.) DANNY: Yeah, I heard you. MARTIN: You get something good? (DANNY pulls his sunglasses on.) DANNY: Oh, yeah. (They both leave the premises.) (Cut back to GRAHAM SPAULDING standing in the hallway as he looks back at us in the direction of the side door.) FADE TO BLACK. (COMMERCIAL SET) [EXT. NEW YORK CITY (STOCK) -- NIGHT SCENE #16: [INT. FBI - MISSING PERSONS UNIT - NIGHT] LEGEND: 27.5 HOURS MISSING (On the red board, DANNY puts two additional photos of two boys up. They're both black and white photos. One is of ERIC LIPINSKI leaning against the house porch and the other, a close-up of ROBBIE GRIFFITH. In both photos, the boys are shirtless. DANNY returns to his seat.) (Everyone is at the conference table looking through the photos that DANNY obtained from the house.) VIVIAN: They all remind me of Andy. SAMANTHA: All gangly, self-conscious and insecure-- easy prey. DANNY: You should see the ones I left inside. Those are disturbing. They're voyeuristic, like they were taken with a telephoto lens. (DANNY puts a close up color photography of ANDY DEAVER in front of JACK.) DANNY: Except for this one. (VIVIAN hands JACK the photo she's looking at.) VIVIAN: It's posed and nude. (JACK looks at the photo.) JACK: We've got to find out who these two boys are. MARTIN: They'll run them against any missing kids in Atlanta or Phoenix. (JACK turns to DANNY.) JACK: Do you have anything on the warrant? 'Cause if these photos don't clear, we're in big trouble. DANNY: Jack, we're okay. JACK: Who's your judge, Randall? DANNY: No, he's out of town. It's Adderley. (SAMANTHA makes a face when she hears who the judge is.) JACK: I just want everything to be done by the book from now on, okay? SAMANTHA: We got Spaulding on possession of child pornography -- more if we can prove he took the pictures. JACK: Look, I don't want this guy walking with a smut conviction and a slap on the wrist. If he gets lawyered up he's going to stop talking and time is running out for Andy. SAMANTHA: So, bring him in, break him with the photos. JACK: We don't even know we have these photos until the warrant clears. Look, I need to get inside Spaulding's head before I meet him again. How are we doing with the wife? VIVIAN: Found her in New Jersey. I'm headed out there. (An AGENT walks up to the table.) AGENT: Jack, Van Doran wants to see you. (JACK glances at DANNY. This doesn't sound good. JACK stands.) CUT TO: SCENE #17: [INT. FBI - PAULA VAN DORAN'S OFFICE - NIGHT -- CONTINUOUS] (JACK knocks lightly on the glass door and enters.) PAULA VAN DORAN: Have a seat, Jack. (JACK sits down. PAULA VAN DORAN is sitting behind her desk going through the paperwork on the warrant for the case.) PAULA VAN DORAN: I just read your report on, um, Agent Taylor searching the Spaulding residence. There appears to be some ambiguity regarding the photo album. JACK: What kind of ambiguity? PAULA VAN DORAN: The ambiguous kind. JACK: Agent Taylor thought he heard the kid inside. He entered the premises under exigent circumstances. The album was in plain view. PAULA VAN DORAN: Please save all of that for the judge. Just don't base any of your questioning on those photos. Without a warrant it's all fruit from a poisonous tree. Do you understand? JACK: I didn't go to law school, Paula, but, uh ... I think I grasp the concept. CUT TO: SCENE #18: [INT. COLLEGE - LAB CLASSROOM -- DAY] LEGEND: 29.5 HOURS MISSING EX-MRS. SPAULDING: We met on a flight from New York to Phoenix. We both lived there. He was one of the most charming men I'd ever met. We were married within eight months. VIVIAN: But divorced two years later. EX-MRS. SPAULDING: After the first six months, he, uh... lost interest in me. In every way. VIVIAN: And you filed for divorce. EX-MRS. SPAULDING: I was getting there, but he beat me to it. One day, there was a message on the machine. The next week, I got a letter from an attorney in Atlanta. He'd moved there. VIVIAN: Do you remember either of these two boys? (VIVIAN takes out several photos from an envelope and hands them to the EX-MRS. SPAULDING. She looks at the first photo and shakes her head.) EX-MRS. SPAULDING: No. (she turns to the next photo) That's Robbie Griffith. He interned for Graham at the vet clinic for awhile. It didn't work out. VIVIAN: What went wrong? EX-MRS. SPAULDING: I don't know. I do know that Robbie was a pretty troubled kid. CUT TO: SCENE #19: [INT. FBI - MISSING PERSON'S UNIT -- DAY] (JACK walks into the office. MARTIN intercepts him and shows him a stack of papers. They make their way to the RED BOARD.) MARTIN: Take a look at this -- 1999 case file on Eric Lipinski, 15 years old, from De Kalb County, Georgia. Reported missing. Found murdered four days later. (MARTIN posts up a crime scene photo of ERIC LIPINSKI. It's apparent that the boy in this photo is the same as the photo of the boy leaning against the porch.) MARTIN: The same kid. And Spaulding was the last to see Eric on the DOD. Atlanta police interviewed him four times and had to let him walk. They couldn't link him to the murder. JACK: That's the third kid. Vivian just called. (JACK points to the other unidentified picture on the RED BOARD.) JACK: This one-- Robbie Griffith -- missing from the Phoenix Division since '96. Never found. MARTIN: This Spaulding guy knows what he's doing. JACK: Yeah, and the sick bastard thinks he's going to get away with it. I want you to go back to the school and set up the arrest. I'm going to get the warrant and fax it to Westchester. MARTIN: Great. CUT TO: SCENE #20: [INT. HALLWAY -- DAY] (JUDGE ADDERLEY is looking through the affidavit while walking down the hallway with JACK and DANNY.) JUDGE ADDERLEY: According to your affidavit, Agent Taylor you heard what you call "suspicious noises" coming from Mr. Spaulding's house? DANNY: Yes, your honor. I heard a high-pitched whining noise and then I heard another sound that I took to be chains of some sort. JUDGE ADDERLEY: "Of some sort." JACK: Your honor, Agent Taylor's exigent entry into the house was based on a totality of circumstances surrounding the boy's disappearance. The evasive nature of the suspect ... JUDGE ADDERLEY: All right, let's move to the photos. DANNY: While I was in the house I entered a darkroom, and it was there that I saw hundreds of other pictures of teenage boys. JUDGE ADDERLEY: But none of the missing boy? DANNY: No, sir. (The men turn the corner and enter a large conference room.) JUDGE ADDERLEY: At which time you also observed the source of your suspicious chain-rattling to be a large German Shepherd? DANNY: Uh, that's correct. JUDGE ADDERLEY: Uh-huh. So, I assume you were preparing to leave the premises but then you, uh ... you saw the photo album. (They all take a seat at the conference table. JUDGE ADDERLEY at the head of the table.) DANNY: Yes, I was. Your honor that photo album was in plain view. JACK: Your honor, if I may cut to the chase. The album contains photos of the missing boy. It also contains a nude photo of a minor that was the victim of an unsolved murder in Atlanta. There's a third photo of another minor that went missing from the Phoenix area. JUDGE ADDERLEY: Mm-hmm. And you believe the suspect, Spaulding, to be responsible for the murder as well as the disappearance of the other two boys based on these photos? JACK: Yes. In conjunction with other evidence. We believe that if we can charge Spaulding with Lipinski's murder, we can get a confession out of him about Andy Deaver and perhaps find the boy alive. JUDGE ADDERLEY: Based on these photos. JACK: They tie the cases together. (The Judge sits back in his chair and once again goes through the Affidavit.) CUT TO: SCENE #21: [EXT. -- NIGHT] (MARTIN and VIVIAN are standing outside keeping an eye on GRAHAM SPAULDING.) MARTIN: He's got to know we're watching him. VIVIAN: Mm-hmm. (Through the window, we see GRAHAM SPAULDING sitting at the able. He stands up and walks away. VIVIAN looks down at her cellphone.) VIVIAN: Where the hell is that warrant? CUT TO: SCENE #22: [INT. CONFERENCE ROOM -- NIGHT] (chuckling) JUDGE ADDERLEY: Gentlemen, I got to tell you, this guy Spaulding sounds like real scum. I hope you can put him away for the rest of his miserable life and I'll be glad to help you do that. As soon as you appear before me with constitutionally-obtained evidence. (JUDGE ADDERLEY turns to JACK.) JUDGE ADDERLEY (cont.): Now, just so you understand Agents Taylor and Malone, you may not enter a house without a search warrant under the flimsiest of exigent circumstances and then bootstrap that questionable entry into a fishing expedition for other evidence. (He turns to DANNY.) JUDGE ADDERLEY (cont.): And you, son -- you had no right to continue the search after finding that dog. You had no right to open the photo album and you certainly had no right to remove it from the premises. And you have absolutely no right to an arrest warrant based on the photographs found therein. Make sense? (JACK shakes his head as he sees the warrant slip out of their hands. JUDGE ADDERLEY turns to DANNY. DANNY nods his head.) DANNY: Yes, sir. (The Judge sits back in his seat and tosses the affidavit back on the table.) CUT TO: SCENE #23: [EXT. SPAULDING RESIDENCE -- NIGHT] (MARTIN'S cell phone rings. He answers it.) MARTIN: Yeah. (pause) Uh-huh. (pause) Oh, you're ... you're kidding. Okay. (MARTIN hangs up and tells VIVIAN.) MARTIN: Warrant was denied. We got to let him walk. (Up through the second floor window, GRAHAM SPAULDING returns to the table with a cup and a tea bag. With one last look, VIVIAN and MARTIN walk away.) FADE TO BLACK. (COMMERCIAL SET) [EXT. NEW YORK CITY (STOCK) - DAY] SCENE #24: [INT. FBI - MISSING PERSONS UNIT -- DAY] LEGEND: 41 HOURS MISSING (MARTIN gets up from his desk and moves to the conference table carrying picture from the ERIC LIPINSKI case.) MARTIN: They found Lipinski's body in a mine shaft tunnel about 50 miles from his home. According to the autopsy report he had been strangled and revived repeatedly over the course of three days ending with a lethal injection of zylazine. (JACK grabs a seat at the table. MARTIN looks up at him.) JACK: Animal tranquilizer. (While going through the photos, SAMANTHA sees something.) SAMANTHA: That's the same as Patrick McCullough. MARTIN: What do you mean? SAMANTHA: The kid that works in the school office with Andy, he's got the exact same tattoo. MARTIN: Is he Spaulding's type? SAMANTHA: Yeah. Lanky, shy, awkward. (SAMANTHA gets up from the table.) SAMANTHA: I'm going to go talk to him. (JACK stops her.) JACK: I want Martin to go. If there was something going on between he and Spaulding, he's more likely to admit it to a male agent. I'm sorry. (SAMANTHA hands the photos to MARTIN. She's not happy with the decision.) SAMANTHA: No, it's fine, I'll, um ... have Westchester put out search parties in the quarries and mine shafts. JACK: Within a hundred-mile radius, please. (SAMANTHA and MARTIN leave. DANNY walks in.) DANNY: Look, Jack ... I know I screwed up. JACK: Yeah. DANNY: And I know it's going to cost us. I'm prepared to ... JACK: You know what, Danny? It's ... it happened, move on. DANNY: Okay. So what's my assignment? CUT TO: SCENE #25: [EXT. SPAULDING RESIDENCE -- DAY] (A "GARBAGE MAN" with a headset on, takes the bag of trash from the trash bin which is sitting on the side of the driveway.) CUT TO: SCENE #26: [INT. FBI -- LAB] (Once at the lab, the "GARBAGE MAN" puts his garbage bag on the chair. He takes off his hat, headset and fake moustache. DANNY wipes his mouth and starts to go through the trash in the trash bag. First thing he pulls out is a big old shoe. He puts that on the table.) CUT TO: SCENE #27: [INT. SPAULDING ACADEMY BOARDING SCHOOL - ANDY DEAVER'S ROOM -- DAY] (MRS. DEAVER is sitting on the bed hugging a pillow to her chest. VIVIAN walks in and finds her like that. She looks up when VIVIAN calls her name.) VIVIAN: Mrs. Deaver? MRS. DEAVER: I... just keep thinking ... ...when I brought him here that first day, I thought I had done the right thing. (Quick flashback to ANDY DEAVER walking into the dorm room carrying a suitcase in each hand. MRS. DEAVER follows carrying a box of his things. ANDY stands in the room looking around.) MRS. DEAVER: (v.o.) He was nervous. He didn't know anybody. (MRS. DEAVER puts the box down and ruffles her son's hair. She starts to unpack the box.) MRS. DEAVER: I told him he could come home whenever he wanted. He called me every day for that first week till he settled in. (End of flashback. Resume to present.) MRS. DEAVER: I really thought this was the right place for him. CUT TO: SCENE #28: [EXT. SPAULDING ACADEMY -- GROUNDS] LEGEND: 43.5 HOURS MISSING (GRAHAM SPAULDING is out on the yard raking leaves. JACK walks up to him. He's carrying the photo album from the house.) (GRAHAM SPAULDING stops raking when he sees JACK. He also notices that JACK is carrying the photo album.) JACK: It's quiet out here. GRAHAM SPAULDING: Yes, it is. So, how's the investigation going? JACK: Pretty good. We're still eliminating suspects. GRAHAM SPAULDING: So, how long has it been? JACK: Since when? GRAHAM SPAULDING: Since the disappearance. JACK: Since you last saw him, you mean. GRAHAM SPAULDING: Yes. JACK: About 40 hours. GRAHAM SPAULDING: So I guess he didn't just go for a walk in the woods. JACK: I think not. I came here to give this back to you. (JACK holds out the red photo album.) GRAHAM SPAULDING: That's not mine. JACK: It's not? GRAHAM SPAULDING: No. JACK: We found it in your house. Any suggestions as to how it may have gotten there? GRAHAM SPAULDING: You came into my house without a warrant? JACK: Yes. That's why I'm giving this back to you. GRAHAM SPAULDING: That article was seized illegally. JACK: Do you want it or not. GRAHAM SPAULDING: I told you, it's not mine. JACK: Okay. (JACK starts to walk away. GRAHAM SPAULDING returns to raking the yard. JACK turns around and holds out the book.) JACK: Aren't you even a little bit curious as to what's in this? (GRAHAM SPAULDING looks at JACK for a moment, then without a word returns to raking the yard. JACK watches SPAULDING for a moment then takes the album and walks away.) CUT TO: SCENE #29: [INT. FBI - CONFERENCE ROOM] (Camera close up of the tattoo on PATRICK McCULLOUGH'S arm. PATRICK is being interviewed by MARTIN.) MARTIN: Patrick, we're not screwing around here. Andy's life is at stake, and we are running out of time. PATRICK McCULLOUGH: I don't know what you want from me. MARTIN: We think you know more than you're telling us. PATRICK McCULLOUGH: Like what? MARTIN: We think that Mr. Spaulding and Andy were having a sexual relationship. PATRICK McCULLOUGH: I don't know about that. MARTIN: Patrick, this is serious. PATRICK McCULLOUGH: I don't know what they did, okay? All I know is I saw them the day Andy went missing. (Fade into flashback. PATRICK McCULLOUGH stands outside GRAHAM SPAULDING'S office door where he sees SPAULDING hand an envelope to ANDY DEAVER.) GRAHAM SPAULDING: That's for you. ANDY DEAVER: Fifty bucks? GRAHAM SPAULDING: It's just a little thank you. ANDY DEAVER: For what? (SPAULDING gets up from his seat behind the desk and moves around it where he then sits on the desk. He's now directly in front of ANDY DEAVER.) GRAHAM SPAULDING: Well, for all the extra effort that you've been putting in around here. And ... for being you. ANDY DEAVER: Thanks. GRAHAM SPAULDING: Listen, I'm having a little barbecue at my house tonight for the math club. Why don't you come by? ANDY DEAVER: I have a paper I have to finish. GRAHAM SPAULDING: Ah, just for a little bit. ANDY DEAVER: Well, I'll see. GRAHAM SPAULDING: Now don't get all mopey. (ANDY DEAVER swallows nervously.) GRAHAM SPAULDING: Let me see that smile. (SPAULDING reaches out and briefly touches ANDY'S HAIR. PATRICK is still standing just outside the doorway and sees everything. He leaves.) (End of flashback. Resume to present.) PATRICK McCULLOUGH: The barbecue was a lie. If Andy showed up Mr. Spaulding would say it was canceled and they'd be alone. MARTIN: How do you know that? PATRICK McCULLOUGH: I just do, okay? MARTIN: Patrick, did Mr. Spaulding do that to you? Look, if he took advantage of you, he's the one to blame, not you. You have nothing to be ashamed of. PATRICK McCULLOUGH: We'd go out for long drives in his truck. He'd tell me how I needed to believe in myself -- that I was special. MARTIN: Did he make you get the tattoo? PATRICK McCULLOUGH: He said it would always remind me of how strong I really was and of our times together. It sounds stupid now. And after I got it, he went really crazy. MARTIN: What do you mean? PATRICK McCULLOUGH: He kept saying things like I owed him because he helped me so much and that the "S" was really for "Spaulding". MARTIN: Is that when you started to pull away? PATRICK McCULLOUGH: A couple of weeks ago. I guess that's when he started up with Andy. MARTIN: Right. (MARTIN sighs.) MARTIN: All right, this ... this is not going to be easy but we're going to need you to press charges. CUT TO: SCENE #30: [EXT. SPAULDING RESIDENCE -- DAY] (MARTIN and SAMANTHA arrive in his Ford (License #KZG-05T9). They are accompanied by an Albany County Police car (#8180). Sirens are blaring. Lights are flashing.) (Cut to the front door. JACK knocks on the door. SPAULDING opens the door.) JACK: Graham Spaulding, we have a warrant for your arrest. (SAMANTHA steps inside and turns SPAULING around to put the handcuffs on him.) SAMANTHA: Put your hands where we can see them. GRAHAM SPAULDING: What are the charges? JACK: Three counts of child rape, two counts of child endangerment and six counts of committing a lewd act with a minor. GRAHAM SPAULDING: Who's making these charges? JACK: Patrick McCullough. Take him out to the car, read him his rights. (GRAHAM SPAULDING is escorted out by some FBI agents. JACK waves to another FBI agent by the door.) JACK: Bring in the ERT, let's get started. We don't have much time. (JACK and SAMANTHA go in separate directions to search the house. Other FBI agents also assist.) (COMMERCIAL SET) SCENE #31: [INT. SPAULDING RESIDENCE - DAY -- CONTINUOUS] LEGEND: 47 HOURS MISSING (FBI Agents comb through the house. They appear to be gathering evidence in boxes. SAMANTHA walks through the kitchen, through the hallway and to the living room. She looks through the box for that room and picks up a CD, "PHOR PHOEBE".) CUT TO: SCENE #32: [INT. SPAULDING RESIDENCE - BATHROOM - DAY -- CONTINUOUS] (DANNY opens the cabinet in the bathroom when JACK walks in. DANNY picks up a black man's cosmetic bag and unzips it to look inside. JACK is randomly looking at the things on the bathroom counter.) (DANNY finds something. He holds out a small ampule.) DANNY: Zylazine. (JACK reaches into the kit that DANNY holds and pulls out a syringe.) CUT TO: SCENE #32: [INT. FBI - MISSING PERSONS UNIT] VIVIAN: Soil samples on the truck's wheel well match the samples on the boots that Danny found. MARTIN: We got 150-foot climbing rope also covered in soil. VIVIAN: Lime and clay deposits? MARTIN: Mm-hmm. SAMANTHA: A cave. VIVIAN: There's a national park about 60 miles north of the academy -- Coleman Caves. MARTIN: Right. I've been up there. That place has got hundreds of miles of passageways. SAMANTHA: This time of year, temperatures drop below freezing. CUT TO: SCENE #33: [INT. FBI -- PAULA VAN DORAN'S OFFICE -- DAY] PAULA VAN DORAN: Washington wants me to supervise this case directly. We're in the headlines now, Jack. From this stage we have to follow procedure flawlessly. JACK: What "stage"? PAULA VAN DORAN: We need a clean conviction on this one. JACK: This kid is still alive. PAULA VAN DORAN: Oh, come on, Jack. The kid is gone. JACK: I think the kid is still alive and this son of a bitch knows where he is. I can get it out of him. PAULA VAN DORAN: I'm having him processed and transferred here to Manhattan detention. You're off the case, Jack. JACK: Paula, come on ... PAULA VAN DORAN: It's done, Jack. JACK: At least let me handle the transfer. CUT TO: SCENE #34: [INT. CAR -- NIGHT] (It's raining outside. MARTIN'S driving the car. JACK and GRAHAM SPAULDING sit in the back seat.) (It's very quiet in the car. JACK looks up and instructs MARTIN.) JACK: Martin take a left up here. (This surprises SPAULDING.) GRAHAM SPAULDING: That's not the way to the thruway. (JACK doesn't say anything. SPAULDING realizes that they're not going to Manhattan detention. MARTIN remains silent while he drives the car. ) (The car turns left.) JACK: I know that you took Andy. GRAHAM SPAULDING: "Took Andy" ... Please. JACK: We found the rope. We found the boots. We know that you took him to the Coleman Caves. GRAHAM SPAULDING: If you know so much, what do you need me for? JACK: Actually, you need me. GRAHAM SPAULDING: How is that? JACK: 'Cause I can help you. My boss gets a-hold of you ... the press ... they're going to turn you into a monster. GRAHAM SPAULDING: I'll take the chance. JACK: Tell me where Andy is and I'll help you. GRAHAM SPAULDING: I told you, I have no idea where Andy is. JACK: Your prints are all over his car. GRAHAM SPAULDING: Look, this is all circumstantial crap! If you had the evidence to arrest me for Andy's disappearance, you would have. And we wouldn't be driving around in the rain now would we? CUT TO: SCENE #35: [INT. FBI -- MISSING PERSON'S UNIT -- NIGHT] VIVIAN: Van Doran just called. Jack still hasn't made it to Manhattan detention. SAMANTHA: What'd you say? VIVIAN: I said I'd look into it. CUT TO: SCENE #36: [INT. CAR -- NIGHT] JACK: I meant what I said before, Graham. You care about these kids. That's why you took Andy under your wing. He was confused, vulnerable. You were the only one who understood him. GRAHAM SPAULDING: Is that right? JACK: I think so. But then he turned on you, didn't he? I know how that feels. Know how ... painful that can be. You pour yourself into someone -- your time, energy, and devotion. You give them everything they need to grow and then they just abandon you. GRAHAM SPAULDING: Are you speaking from experience? JACK: Sure. You love someone ... you make love to someone ... you give your life to them and then they don't even look at you. CUT TO: SCENE #37: [INT. FBI - PAULA VAN DORAN'S OFFICE -- NIGHT] PAULA VAN DORAN: Any word from Malone? VIVIAN: No, ma'am. Uh, Westchester was late processing Spaulding out. PAULA VAN DORAN: The Warden told me himself that Spaulding was released 20 minutes ahead of schedule. VIVIAN: I hadn't heard that. PAULA VAN DORAN: The guy's already asked for a lawyer. If Jack interrogates him if he even mentions Andy Deaver in a custodial setting, Spaulding will walk. VIVIAN: I'm sure Jack knows the rule. PAULA VAN DORAN: Get back to me in five minutes with Malone's exact location. VIVIAN: Yes, ma'am. CUT TO: SCENE #38: [INT. CAR -- NIGHT] JACK: (quietly) I know about the other boy. GRAHAM SPAULDING: What other boy? (JACK shows SPAULDING a photograph.) JACK: This kid. The young... scrawny frightened, lonely kid. The kid who only wanted love and approval. I know his pain. I know that boy. GRAHAM SPAULDING: Do you? JACK: Yes. I do. And I know that you want to put that boy out of his misery. You know, Graham, your father wasn't a strong man. He wasn't supportive man. He was a weak, cowardly, sadistic bastard. I know he used to touch you and I know you used to beg him to stop. GRAHAM SPAULDING: You believe whatever you want. You don't know anything about my father. CUT TO: SCENE #39: [INT. FBI - MISSING PERSONS UNIT] (It's 10:50 p.m. SAMANTHA looks at the clock. She turns and looks at VIVIAN. VIVIAN shakes her head.) CUT TO: SCENE #40: (MARTIN drives past a road sign: COLEMAN CAVES 5 MILES. ) [INT. CAR -- NIGHT] (MARTIN stops the car. He sighs, turns and signals JACK.) JACK: You know, I've been giving something a lot of thought. It's occurred to me that ... in some ways, I envy you. (SPAULDING doesn't believe him.) GRAHAM SPAULDING: You envy me? JACK: Yes. The power ... that you have with those boys -- what that must feel like. GRAHAM SPAULDING: What boys? JACK: Andy ... Eric Lipinski ... Robert Griffith. I know there have been others. GRAHAM SPAULDING: There have been many. JACK: Do me a favor, Graham. Tell me what it's like ... the moment that you take them out. Tell me. You can see the terror in their eyes, right? You can feel their hearts racing. You can feel the cold sweat under your hands just before you stick the needle in. It must be such a rush. JACK: Martin ... put the CD in. (Without saying a word, MARTIN holds up the CD case they found at GRAHAM SPAULDING'S residence so that he can see what CD they'll be listening to, "PHOR PHOEBE". He slips the CD in the player. The haunting music and lyrics of Moby's "One Of These Mornings" softly fills the darkened car.) (JACK takes a deep breath and pushes forward.) JACK: Andy made this CD for Phoebe. He wanted her to think about him when he wasn't there. (His voice is filled with understanding for the man in the seat next to him.) (GRAHAM SPAULDING sits quietly with his eyes closed remembering what it was like for him.) JACK: Is that what you wanted? Is that why you stole it? You wanted to think about him. Is it what you two listened to when you were together? (The music haunts SPAULING, his head tilted back, his eyes closed.) GRAHAM SPAULDING: No. JACK: No, that's right, that's right. That's right, you never got a chance. You never got a chance to go back to him because he's still out there. He's waiting ... (JACK'S voice softens sympathetically, compassionately ... needing for the man next to him to understand that he understands, too ... wanting the man next to him to know just how much he knows, too.) JACK: It must be hard. It must be hard knowing that he's out there ... waiting. The touch of his skin ... the feel of him under you. I understand you, Graham, I do. I've been to that school. I've seen those beautiful boys. Their beautiful bodies ... to hold all that innocence in your arms ... to take ... the power. (JACK pushes forward, his voice in descant to the mournful sounds in the car. The two becoming one. Both weaving magic around the man sitting next to him.) JACK: It must be really frustrating knowing that Andy is out there waiting for you ... waiting ... waiting ... waiting and you can't get back to him. You can't be with him one last time. But I tell you what I'm going to do. I'm going to give you fifteen minutes with him, if you tell me where he is. (GRAHAM SPAULDING immediately looks over at JACK. Their eyes meet as he searches for some speck of truth in them. JACK never waivers. Hope fills GRAHAM SPAULDING'S voice at the mere thought of spending some time with his Andy ... that he's finally found someone who understands him completely.) GRAHAM SPAULDING: (eager) You'd do that? (JACK reassures him.) JACK: I'll give you fifteen minutes with him ... alone. You can do whatever you want. (GRAHAM SPAULING considers this deal too good to pass up. He licks his lips at the thought of all the things he could say in fifteen minutes ... all the things he could do in fifteen minutes ... ) GRAHAM SPAULING: Fifteen minutes. JACK: Whatever you want. (The camera holds on GRAHAM SPAULING. JACK turns his head away and looks out the window, tears glistening in his eyes.) LYRICS: You will look for me / I'll be gone / one of these mornings, one of these mornings / won't be very long, won't be very long / you will look for me, you will look for me / I'll be gone, I'll be gone... CUT TO: SCENE #41: [EXT. COLEMAN CAVES -- NIGHT] LEGEND: 54 HOURS MISSING (A man slowly climbs up the hill. Indistinct radio communication is heard in the background. In the back along side the trees, the lights of multiple cars shine.) (At the top of the hill, MARTIN stands there waiting with the other rescue workers. He stands and slowly makes his way to JACK.) MARTIN: He's in bad shape, but he's going to make it. (JACK has been watching the search and rescue team workers from a distance off to the side. Behind him, a lone voice calls out to him.) GRAHAM SPAULDING: Agent Malone. (Both JACK and MARTIN turn around. JACK walks to the man sitting in the car. GRAHAM SPAULDING has been watching the search and rescue efforts from the back seat of the car. He turns eagerly to JACK.) GRAHAM SPAULDING: Do I get my 15 minutes now? JACK: Your 15 minutes are over. (JACK slowly walks a distance to the side of the road away from MARTIN and from any prying eyes. He throws up. He wipes his mouth and turns his head. He sees MARTIN with an eye on him. Their eyes meet. MARTIN remains a discrete distance away and makes no move toward JACK. Behind MARTIN, the team of rescue workers escort ANDY DEAVER inside the rescue basket. JACK turns his head and looks away. Camera holds on JACK.) CUT TO: SCENE #42: [INT. FBI - MISSING PERSONS UNIT] (The camera focuses on the WHITEBOARD PHOTO of ANDY DEAVER. VIVIAN reaches up and removes the photo. She looks down at it in her hands, then walks away. Case closed.) ======================== FADE TO BLACK. ======================== CUT TO: NARRATOR: (v.o.) If you have any information on this real missing person, please contact your local FBI office. Name: SHAWN DAMIAN HORNBECK DOB: 06/17/1991 Missing: 10/06/2002 Age Now: 11 Sex: Male Height: 4'8" Weight: 90 lbs Hair: Brown Eyes: Brown Missing from: Richwoods, Missouri www.fbi.gov or contact your local FBI office 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 Please do not archive without permission. ======================== BEGINNING/TITLE CREDITS ======================== WITHOUT A TRACE 1X05: SUSPECT ORIGINAL AIR DATE ON CBS: 10/24/2002 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: CONOR O'FARRELL as GRAHAM SPAULDING BLAKE BASHOFF KATHLEEN GARRETT JARED HILLMAN JACQUELINE HAHN HARRIS LASKAWY and LYNN WHITFIELD as Paula Van Doran Producer: JAN NASH Producer: GREG WALKER Produced by SCOTT WHITE Co-Executive Producer: JACOB EPSTEIN Co-Executive Producer: HANK STEINBERG Executive Producer: JONATHAN LITTMAN Executive Producer: ED REDLICH Written by ALLISON ABNER Directed by PETER MARKLE ======================== END CREDITS ======================== Executive Producer: JERRY BRUCKHEIMER JERRY BRUCKHEIMER Television CBS Productions Warner Bros. Television, An AOL Time Warner Company www.warnerbros.com Associate Producer: NANCY VAN DORNEWAARD Executive Story Editor: ALLISON ABNER Director of Photography: JOHN PETERS Production Designer: AARON OSBORNE Editor: JOHN F. SHOWALTER Music by JOHNNY KLIMEK and REINHOLD HEIL Unit Production Manager: SCOTT "THE BEAR" MAITLAND First Assistant Director: LEIGH A. WEBB Second Assistant Director: KRISTIN KILLEY Casting by: GARY M. ZUCKERBROD, C.S.A. Original Casting by RONNA KRESS, C.S.A. / TRACY KAPLAN, C.S.A. Co-Starring GLENN TARANTO as Marconi MARLENE BREHM as Phoebe Burnell ERIC SCOTT GOULD as Agent MATT KORUBA as Ray FBI Technical Advisor: MARK LLEWELLYN Set Decorator: JEANNIE GUNN, S.D.S.A. Property Master: JOHN HARINGTON Costume Designer: ALIX FRIEDBERG Costume Supervisor: SUE BUB Make-up Artist: TINA ROESLER KERWIN Hair Stylist: STEPHEN A. ELSBREE Production Sound Mixer: JAY PATTERSON, C.A.S. Script Supervisor: KATHLEEN MULLIGAN Special Effects: DAN LESTER 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 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 persons, living or dead, or to any actual persons, 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 (c) 2002 Warner Bros. Television. All Rights Reserved Production #175657 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:11/02/2002~lky