WITHOUT A TRACE 1X12: UNDERGROUND RAILROAD ORIGINAL AIR DATE ON CBS: 01/16/2003 TRANSCRIBED FROM CBS Written by HANK STEINBERG Directed by TOM McLOUGHLIN Transcript by Intrepid Courtesy of http://www.webphilia.com/~anthology/wnp.html (Zenith the Authority in HDTV) Please do not archive without permission. RATING: TV-PG-L ========================== DISCLAIMER: ========================== "WITHOUT A TRACE" and other related entities are owned, (TM) and (c) by JERRY BRUCKHEIMER Television, CBS Productions, and Warner Bros. Television (an AOL Time Warner Company). All Rights Reserved. This transcript was made without their permission, approval, authorization or endorsement. Any reproduction, duplication or distribution of this material in any form is expressly prohibited. It is absolutely forbidden to use it for commercial gain. Leave the headers/disclaimers in tact because it lists all those who have made this transcript possible for your enjoyment and provide a link back to the site where this file originated http://www.webphilia.com/~anthology/wnp.html For corrections / inaccuracies, please contact the Transcriptionist at (intrepidly002@yahoo.com) ========================== SUMMARY: A pregnant woman with a life-threatening condition vanishes from the hospital. ========================== WITHOUT A TRACE 1X12: UNDERGROUND RAILROAD ========================== COLD OPEN: [EXT. NEW YORK CITY (STOCK) - DAY] CUT TO: SCENE #01: [INT. HOSPITAL -- DAY] WOMAN: (over P.A) Dr. Kravitz, a visitor in the main lobby. Dr. Kravitz, a visitor in the main lobby. (The camera moves rapidly through the hallway and through the emergency room. It stops near a bed with a young pregnant woman on it. Standing around her is her husband, her doctor and a nurse.) (DR. KRYTZER puts the blood pressure machine away.) DR. KRYTZER: Your temperature's normal, pulse is fine. Your blood pressure is 150/95, which is a little high. I'd like to keep you for 24 hours. Check your urine, do some blood work ... just to be safe. PAUL DOBSON: Why? Is there something wrong with the baby? DR. KRYTZER: No, the baby is fine. These are just precautionary measures. KATHY DOBSON: I'm sure I'm fine. I just feel a little off, that's all. PAUL DOBSON: I never should have had you working. DR. KRYTZER: This has nothing to do with that, Mr. Dobson. PAUL DOBSON: She really got to stay over night? DR. KRYTZER: Well, she doesn't have to, but I'd rather err on the side of caution. PAUL DOBSON: It's payday. I got to go sign everybody's checks, but I'll come right back, okay? (She nods.) I'm just going to be a couple hours. KATHY DOBSON: Go ahead. I'll be all right. PAUL DOBSON: You sure? DR. KRYTZER: She's in good hands now. Why don't you lie back, try to relax. Bonnie will take care of you. I'll come see you in a bit. KATHY DOBSON: Thank you. (KATHY DOBSON leans back. PAUL DOBSON and DR. KRYTZER leaves. BONNIE helps settle her in, then pulls the curtain closed.) (Camera moves around the curtain where KATHY DOBSON is on the bed. She closes her eyes. She vanishes.) CAMERA PANS OVER TO: SCENE #02: [INT. HOSPITAL - HALLWAY -- NIGHT] LEGEND: 9:00 P.M. LEGEND: 11 HOURS MISSING (JACK and DANNY walk in through the hallway.) JACK: What? Did I take you away from a date? DANNY: Actually, yeah. You? JACK: Please. DANNY: What do we have going on here? JACK: Kathy Dobson, eight-and-a-half months pregnant, came in this morning with complications. Her husband dropped her off for a couple of hours for some tests -- he came back, she was gone. Apparently, nobody saw her leave. CUT TO: SCENE #03: [INT. HOSPITAL -- NIGHT] (DANNY and JACK talk with DR. KRYTZER.) DR. KRYTZER: My nurse took her blood, took her urine sample. The next thing we know, no one can find her. JACK: How long have you been treating her? DR. KRYTZER: Since the beginning of her pregnancy. JACK: And how were things between her and her husband? DR. KRYTZER: They seemed very happy. He's certainly attentive. DANNY: Dr. Krytzer, are there any security cameras in the building? DR. KRYTZER: Well, not in the rooms, of course but in the hallways. (DANNY smiles then leaves.) DR. KRYTZER: Under normal circumstances this would be distressing but given her condition I'm concerned about what could happen. JACK: Why is that? DR. KRYTZER: After she left, we got her tests back. She has pre-eclampsia. If she were here, I would have induced labor. If she doesn't deliver in the next 24 hours it could be fatal for her and her child. CUT TO: (Camera close up on a photo of KATHY DOBSON.) HARD CUT TO: END OF TEASER ROLL TITLE CREDITS (COMMERCIAL SET) FADE IN. SCENE #04: [INT. FBI - MISSING PERSONS UNIT -- DAY] LEGEND: 21 HOURS MISSING (VIVIAN reads a piece of paper. She looks up and sees MARTIN walk into the office. She goes back to her piece of paper.) VIVIAN: Morning, sunshine. MARTIN: Oh, give me a break. I've been at the hospital for the last eight hours. (MARTIN tosses his coat on his desk and heads for the whiteboard.) VIVIAN: Anything turn up? MARTIN: Oh, yeah. 23 nurses, 14 doctors, 12 orderlies and a partridge in a pear tree. And nobody saw her leave. It's, um, spooky. CUT TO: [EXT. NEW YORK CITY (STOCK) - DAY] SCENE #05: [INT. DOBSON RESIDENCE ] (JACK and SAMANTHA question PAUL DOBSON.) PAUL DOBSON: I don't know what I was thinking. JACK: I don't think you should blame yourself, Mr. Dobson. PAUL DOBSON: I just ... put that crib together last week. We started painting his room. JACK: Tell me what happened yesterday before you and your wife went to the hospital. I was sitting at the table, reading the paper Kathy comes over with my breakfast ... (Quick flashback to: PAUL reading the paper at the counter and KATHY bringing him breakfast.) KATHY DOBSON: Here you go. You want something to drink? PAUL DOBSON: Coffee would be great. You're not eating? KATHY DOBSON: Oh, I'm not hungry. (KATHY braces herself against the counter. PAUL notices the movement.) PAUL DOBSON: You all right? KATHY DOBSON: I'm just a little dizzy, that's all. PAUL DOBSON: What are you talking about? When did this start? KATHY DOBSON: Oh, I'm fine. I'll be okay. PAUL DOBSON: No, wait a minute. You're not feeling right, we got to get you to a hospital. KATHY DOBSON: I'm sure I'm just a little tired. PAUL DOBSON: Kathy, come on, let's get in the car now. (End of flashback. Resume to present.) SAMANTHA: Okay. Is there any chance she would have left the hospital of her own volition? PAUL DOBSON: Why would she do that? SAMANTHA: Well, she was reluctant to go in the first place. Maybe she was feeling better, got in a cab ... PAUL DOBSON: No, no. She, uh... she don't like people fussing all over her. But ... she's just not going to -- you know, with the doctor all concerned -- walk out without any answers. JACK: Do you have any enemies that you're aware of? PAUL DOBSON: No ... not at all. SAMANTHA: And everything in your marriage? PAUL DOBSON: We're about to have a baby. This is the greatest time of our life. (JACK doesn't say anything. He turns and looks at a framed photograph on the table of KATHY DOBSON'S parents.) CUT TO: SCENE #06: [INT. FBI - MISSING PERSONS UNIT -- DAY] (VIVIAN questions the POSEYS.) VIVIAN: And everything was going well with Kathy's husband? MICHAEL POSEY: Absolutely. Paul's a great guy. Treats her like a princess. (MRS. POSEY doesn't say anything.) VIVIAN: Mrs. Posey, you see things differently? MRS. POSEY: What? Oh, no, Paul's a terrific husband. They're very happy together. MICHAEL POSEY: You don't think Paul did something to her? VIVIAN: I didn't say that. MICHAEL POSEY: That's always the way it is with the cops. They always want to point the finger at somebody in the family. I guess it's easier than getting out in the street and doing some real work. VIVIAN: Mr. Posey, we've got five FBI agents working around the clock to try and find your daughter. So, I'd can the attitude if I were you. MICHAEL POSEY: You're right. I'm sorry. I'm just ... she's our baby girl and ... it's our first grandson she's carrying. (MRS. POSEY reaches over and puts her hand over her husband's.) CUT TO: SCENE #07: [INT. DOBSON RESIDENCE - BEDROOM -- DAY] (SAMANTHA walks into the bedroom. JACK is already there standing by the window.) SAMANTHA: Hey. JACK: Hey. (JACK looks around at the baby things.) JACK: My wife was nuts about all this baby stuff, too. A lot of bedside reading. "Daddy, Who Are" ... "Prepping Papa". This guy was really committed. SAMANTHA: (flatly) Yeah, he's a real saint. Eight-and-a-half months pregnant and she's waiting on him hand and foot. JACK: She brought him breakfast. He didn't ask her to go downstairs and rotate the tires on his car. SAMANTHA: He leaves the hospital, two hours later she disappears. It's convenient, that's all I'm saying. JACK: Yeah, well, his alibi is solid. SAMANTHA: Yeah, well, maybe he hired someone to lift her or kill her. JACK: Right now he's living to have that boy and without her, he can't have him. SAMANTHA: Maybe he found out the kid wasn't his. JACK: There's nothing whatsoever to indicate that that is true but I thank you for your imagination. SAMANTHA: That's why they pay me the million bucks. JACK: So, what, according to your theory he could have had her taken at any time but he waited until she had complications to have her grabbed from the hospital? SAMANTHA: Mm-hmm. CUT TO: SCENE #08: [INT. FBI -- DAY] (DANNY and MARTIN go through the surveillance video.) DANNY: We have doctor, man in a wheelchair, pregnant woman that's not her ... a fat guy in a robe, a nurse... MARTIN: Is it important that you narrate? DANNY: You know, I'm sorry, I forgot ... you can't think and listen at the same time, and... MARTIN: That's pretty good for someone who can't think without speaking. This is one big hospital. DANNY: You'd rather be in the field, right? MARTIN: Always. (MARTIN takes out another tape.) MARTIN: So, what's your theory, man? DANNY: Well, it's almost impossible to snatch a newborn from a maturity wing, right? MARTIN: Right. DANNY: So, what's the next best thing? MARTIN: Of course, she may have run off. DANNY: Now, why would a woman that's eight-and-a-half months pregnant and having complications run off? MARTIN: I don't know. Maybe she's scared or something. DANNY: Mmm ... of what? CUT TO: SCENE #09: [EXT. CAR WASH -- DAY] LEGEND: 33 HOURS MISSING (JACK and SAMANTHA question RICHIE DOBSON.) RICHIE DOBSON: I can't for the life of me figure out what happened. JACK: Tell us about your sister-in-law. RICHIE DOBSON: What do you mean? JACK: It's not a very difficult question. What's she like? RICHIE DOBSON: Uh, she's kind. She's a very, very kind person and smart and, uh, she's funny. You know, a lot of people don't realize how funny she is, but she's ... SAMANTHA: How did she get along with everybody? RICHIE DOBSON: Uh ... great. Everybody loves Kathy. You know, a lot of girls, if they're the boss's wife have their noses up in the air, you know? (Quick flashback to: KATHY letting a worker touch her tummy. KATHY helping out a customer behind the counter. KATHY playfully tossing red rags to the workers.) RICHIE DOBSON: (v.o.) But she works the register, talks to all the rag men ... you know, she treated everybody the same. (End of flashback. Resume to present.) SAMANTHA: How was their relationship? RICHIE DOBSON: Kathy and Paul? Happy as clams. JACK: What about you and her? RICHIE DOBSON: What do you mean? JACK: You get along? RICHIE DOBSON: Yeah, of course we did. I love her. She's like a sister to me. Like a sister I never had. CUT TO: SCENE #10: [INT. FBI -- HALLWAY] LEGEND: 23 HOURS MISSING (VIVIAN questions JULIE, KATHY DOBSON'S friend.) VIVIAN: So, you and Kathy are best friends? JULIE: We grew up together. Grammar school, high school ... I was her maid of honor. VIVIAN: So, did you see her often? JULIE: Well, you know, we used to. VIVIAN: What changed? JULIE: I guess she started drifting when she got married. And not just from me, from everyone. VIVIAN: What was that about? JULIE: At first I figured it was that new-love thing. But it's been, like, three years and just seems like she just gets less and less interested in her friends. The other day when I saw her was the first time in almost six months and I had to drag her out with me. VIVIAN: How did she seem? JULIE: We went shopping for baby stuff. It was just like old times. (Quick flashback to: KATHY DOBSON holds up a little shirt. KATHY DOBSON: How cute is this! JULIE: Is that for you or for him? KATHY DOBSON: It's for him. Everything's going to be for him. JULIE: I think pregnancy agrees with you. KATHY DOBSON: I just hope motherhood does. JULIE: What are you talking about? You're going to be a great mother. KATHY DOBSON: I know. I just want him to be healthy and happy. JULIE: Of course he will. KATHY DOBSON: Thank you for being such a good friend. JULIE: Of course. KATHY DOBSON: (cries) Hey ... Oh, oh ... (sniffles) Just hormones. Hey ... (beeping) Oh ... (KATHY looks down at her pager.) JULIE: Who's that? KATHY DOBSON: It's Paul. (KATHY'S cell phone rings. She answers it.) JULIE: Oh. Geez, you're popular. KATHY DOBSON: He likes to be able to get ahold of me. Just a second. (to phone) Hello? (pause) Hi, honey. (End of flashback. Resume to present.) JULIE: The way she answered I couldn't tell if she was embarrassed or lying. But something about it wasn't right. VIVIAN: Do you think maybe it wasn't Paul that paged her? JULIE: Well, we went downstairs a couple minutes later and she said she was going catch to a cab and I went across the street for a coffee and when I came out, I saw her get into a car with another man. VIVIAN: What kind of car was it? JULIE: It was black. I'm not sure of the make. VIVIAN: Two-door? Four-door? JULIE: Four ... I think. CUT TO: WHITEBOARD TIMELINE: 3 P.M. - GETS IN BLACK CAR WITH UNKNOWN MAN SCENE #11: [EXT. CAR WASH -- DAY] (SAMANTHA continues to question RICHIE DOBSON.) RICHIE DOBSON: So, how do you go about you know, tracking somebody down? SAMANTHA: We run their phone records, credit cards coordinate with the police, that sort of thing. RICHIE DOBSON: It's kind of hard to get away, huh? SAMANTHA: Well, in a city of eight million people it's pretty easy, actually. Why did you say, uh ... why did you say "get away"? RICHIE DOBSON: What? SAMANTHA: Get away. You said "get away" as opposed to being taken or...? RICHIE DOBSON: Oh, I... I ... I wasn't thinking. It's probably what I'm hoping. JACK: What kind of car do you drive? RICHIE DOBSON: A '99 maximum. JACK: What color? RICHIE DOBSON: Red. JACK: You ever driven a black car? RICHIE DOBSON: Well, yeah, in my life, of course. JACK: What about the last couple days? RICHIE DOBSON: Uh, no. JACK: What about your brother? RICHIE DOBSON: Uh, he drives a blue mustang. What's this about? JACK: Is it possible that your sister-in-law was having an affair with another man? RICHIE DOBSON: No. No way. What? Are you guys suggesting that she ran off with some other guy two weeks before she's having Pauley's baby? (laughs) Come on, man, that's insane. CUT TO: SCENE #12: [INT. FBI - VIDEO ROOM] (DANNY walks into the room carrying two cartons of food. He hands one to MARTIN.) DANNY: Yo, this stinks. MARTIN: Yeah, just the way I like it. Thanks. (DANNY sits in the back of the room eating from his own plate.) DANNY: I don't know how you eat that crap in the morning. It's gross. MARTIN: Oh, come on -- protein, carbs, dairy ... three of the four food groups. It's good. You want some? DANNY: I'm fine. Thanks. (MARTIN takes a bite and puts the plate on the side.) MARTIN: Mmm, hold on. Take a look at this. (DANNY gets up and moves to the chair in front of the monitor.) DANNY: What? MARTIN: Right here. Look. (On screen, a dark figure leads KATHY DOBSON out of the hallway. The date/time stamp reads: 11:03:07 / 1-13-03.) DANNY: That's her. MARTIN: I think so. Grab her picture. (DANNY compares the video picture to the photo picture of KATHY DOBSON.) DANNY: It's definitely her. Look. 11:03. That's an hour after her husband left her. They're heading out. MARTIN: See the way he's pressed up against her? That could be a gun. DANNY: Yeah. (Camera holds on the video picture.) FADE OUT. (COMMERCIAL SET) FADE IN. SCENE #13: [INT. FBI - VIDEO ROOM -- DAY] LEGEND: 24 HOURS MISSING (DANNY and MARTIN show VIVIAN the video of KATHY DOBSON leaving the hospital.) VIVIAN: Goods work, boys. I knew if I left you two alone you'd come up with something. MARTIN: Yeah, but no matter what we do, we can't make out the guy. DANNY: The baseball cap, overcoat -- he does not want to be seen. VIVIAN: How tall is Kathy? DANNY: Five-three. (DANNY grabs the photograph and compares it with the video.) VIVIAN: Okay, overcoat's probably about five-six? Could be a woman. DANNY: Lesbian lover? MARTIN: (chuckles) Yeah, maybe she's the real father. VIVIAN: We better re-canvass the hospital. I'll give this to Jack. (VIVIAN takes the photo and leaves.) CUT TO: WHITEBOARD TIMELINE: 11:04 AM - LEAVES HOSPITAL WITH OVERCOAT SCENE #14: [EXT. CAR WASH] (JACK and SAMANTHA show the photo to RICHIE DOBSON.) RICHIE DOBSON: I ... I don't know who that could be. (He hands the photo back to SAMANTHA.) JACK: Where were you at 11:00 A.M. Yesterday? RICHIE DOBSON: I was right here, working the shop. JACK: Can these guys vouch for you? RICHIE DOBSON: Ask any one of them. (PAUL DOBSON walks up to them.) PAUL DOBSON: I couldn't just sit around the apartment any longer. What's going on? SAMANTHA: Well ... this photo was taken off the hospital security camera at 11:00 yesterday morning. JACK: You recognize the person in that photo? PAUL DOBSON: No. JACK: You sure. PAUL DOBSON: Yeah, I'm sure. You think this is the guy that took her? SAMANTHA: We have no way of knowing for sure but it appears to be. PAUL DOBSON: Son of a bitch. I swear to god I get my hands him, I'm gonna kill him! RICHIE DOBSON: Come on, man ... what?! PAUL DOBSON: Did you think I'd give a damn?! He's my son! He's got my boy. Do you mind if I talk to my brother for a minute? A couple business things to take care of. JACK: Sure, go ahead. (PAUL DOBSON and RICHIE walk inside the office. JACK and SAMANTHA remain outside in the parking lot.) SAMANTHA: Wow. Well, that's refreshing. He's got the FBI in his lap and he still says whatever he's thinking. JACK: Either that or he just can't control himself. CUT TO: SCENE #15: [INT. FBI - MISSING PERSONS UNI -- DAY] (MARTIN is on the phone at his desk.) MARTIN: (on phone) I'm not interested in pharmaceutical ethics. (pause) Look, I understand that, but I really don't think you want to make me come all the way down there when this woman's in danger. (pause) Right .... right. Thank you. (hangs up) Listen to this, man. (MARTIN gets up and walks toward DANNY'S desk.) DANNY: (o.s.) Yeah, what's up? MARTIN: The day before she disappeared Kathy Dobson had a prescription filled at a pharmacy in Brooklyn. DANNY: Brooklyn? Why would she go all the way to Brooklyn? Are you sure it was her? MARTIN: Unless she's got a five-foot, three extremely pregnant friend who filled it for her. DANNY: What was the prescription? MARTIN: Aldomet. It lowers blood pressure. DANNY: Why wouldn't her doctor mention this to us, huh? MARTIN: Because it was written by a different doctor. A Dr. Feldman. DANNY: OB/GYN? MARTIN: Yep. DANNY: Why would she have two OBs, huh? MARTIN: That's a good question. CUT TO: WHITEBOARD TIMELINE: 4 PM - GETS PRESCRIPTION FROM 2ND DOCTOR SCENE #16: [INT. FBI - MISSING PERSONS UNIT -- DAY] (DANNY and MARTIN question DR. FELDMAN.) DANNY: Thank you for coming in, Dr. Feldman. We appreciate it. DR. FELDMAN: You said it was important. MARTIN: We need to ask you a few questions about Kathy Dobson. DR. FELDMAN: Did something happen to her? DANNY: She disappeared. DR. FELDMAN: What do you mean disappeared? MARTIN: She was at your office the day before yesterday, right? DR. FELDMAN: Yes. Uh, she came in on a routine consultation ... MARTIN: Are you aware that she sees another obstetrician? DR. FELDMAN: Yes. She came to see me the first time about six weeks ago. She had some concerns about the treatment she was getting from him and she wanted a second opinion. MARTIN: Do you have reason to believe that he wasn't giving her adequate care? DR. FELDMAN: No, but she has the right to as many opinions as she wants. DANNY: Did you consult with Dr. Krytzer? DR. FELDMAN: She asked me not to. Anyway, it's my policy to protect the privacy of my patients, not the feelings of other doctors. DANNY: Did she come to you by herself? DR. FELDMAN: Yes. DANNY: Have you met her husband? DR. FELDMAN: No, I get the feeling that he is not particularly interested in the process. MARTIN: She told you that? DR. FELDMAN: Not in so many words, but it was the impression I got. DANNY: Thank you, Dr. Feldman. If you hear anything else, you'll let us know? (DANNY stands up and shakes his hand.) DR. FELDMAN: Of course. (Camera holds on MARTIN.) CUT TO: SCENE #17: [EXT. CAR WASH -- DAY] (JACK continues to question the employees. PAUL DOBSON hurriedly leaves the office without saying a word) JACK: So how long have you worked here? How long? EMPLOYEE: Six years. (JACK watches as PAUL DOBSON gets into his car and starts the engine. He drives off, tires squealing.) JACK: (to the EMPLOYEE) Thank you. (JACK heads back into the garage store. RICHIE is standing behind the counter with a bloodied lip. He turns away when JACK walks in.) [INT. GARAGE STORE - DAY - CONTINUOUS] (JACK follows him.) JACK: What's going on, Richie? RICHIE DOBSON: It's nothing. It's just a little family argument, all right? It's nothing. JACK: Your brother slaps you around for nothing? (RICHIE stops and turns around to look at JACK.) RICHIE DOBSON: He was pissed off is all. Stop reading into it so much. JACK: I don't have to read into it. Not with half your rag men out there whispering. RICHIE DOBSON: What are you talking about? JACK: You're banging his wife? RICHIE DOBSON: Are you crazy? I would never lay a hand on her. JACK: Maybe I should ask your brother. See what he thinks about all that talk out there. RICHIE DOBSON: All right, it's, uh, it's not what you think. JACK: What do I think? RICHIE DOBSON: Pauley asked me to follow her. He, he was, uh ... worried about her. You know, he's jealous. I told him he was crazy, but once he gets something in his head, that's it ... you know? So he asked me to keep tabs on her for a little bit which I did, and now he blames me for not knowing what was going on. That's why he was so mad. JACK: So who was in the black car outside their apartment that day? RICHIE DOBSON: It was me. He paged her and asked her to come back to the shop. He told me to go pick her up. I didn't have a car, so I used one of the customer's. JACK: Right. RICHIE DOBSON: He loves her, and that's all this is about. JACK: Yeah, he loves her like he loves you -- with a raised hand. Where did he just tear off to? RICHIE DOBSON: He wanted to know all their addresses and everywhere she's been, you know? I guess he's trying to track her down or something. JACK: Yeah, well, you better give me those addresses as well. (RICHIE wipes his eyes.) CUT TO: [EXT. NEW YORK CITY (STOCK) - DAY] SCENE #18: [INT. FBI - MISSING PERSONS UNIT -- DAY] (SAMANTHA is on the phone at her desk.) SAMANTHA: We got to check out everywhere the brother saw her go. INTERCUT WITH: DANNY: But all we have is an address? Wow, this is some lead. Looks like we're going door to door. I should've brought my bibles. SAMANTHA: Yeah, I think you're more of an insurance guy. In the meantime, give me the names. I'll, uh, I'll start running them. DANNY: You want them in alphabetical order? SAMANTHA: Very cute. What are they? CUT TO: [EXT. NEW YORK CITY (STOCK) - DAY] LEGEND: 26 HOURS MISSING SCENE #19: [INT. BUSINESS OFFICES -- DAY] (VIVIAN and MARTIN stand inside the lobby of the business office and look at the office directory.) VIVIAN: She was never at the salon. It would be nice if the brother could give us something more than just a list of addresses. The brother said he saw her come in here. MARTIN: All right, what's your best guess? (VIVIAN looks at the directory and sees: "ROSALIND KANDELL, FAMILY LAW - 15 Floor".) CUT TO: SCENE #20: [INT. ROSALIND KANDELL'S OFFICE - DAY -- CONTINUOUS] (MARTIN and VIVIAN question ROSALIND KANDELL.) ROSALIND KANDELL: What's this about? MARTIN: Was she here? ROSALIND KANDELL: I think I have a right to know what this is about. VIVIAN: She's missing. We think she might've been kidnapped. ROSALIND KANDELL: When? MARTIN: Yesterday morning. Look, she's in danger and every second we waste explaining it to you is a second she and her baby may not have. ROSALIND KANDELL: She came in a couple of months ago. She was very nervous. Skiddish, I would say. (Quick flashback to: KATHY DOBSON stands in the office talking with ROSALIND KANDELL.) ROSALIND KANDELL: Please, Mrs. Dobson sit down. KATHY DOBSON: Um ... it's okay, um, I have to be back in a few minutes. I have to get back before, um ... (She sighs heavily.) um ... I just, I wanted to ask you a few questions about, uh ... if I were to get divorced ... would my husband have to get part of the custody? ROSALIND KANDELL: In all likelihood, yes. KATHY DOBSON: Even if it were before the baby was born? ROSALIND KANDELL: Unless there were some mitigating circumstances. Is the baby his? KATHY DOBSON: Yes. ROSALIND KANDELL: Or... if there was some kind of abuse. Did you file any police reports? KATHY DOBSON: (softly): No. ROSALIND KANDELL: Does your doctor know about this? KATHY DOBSON: No. ROSALIND KANDELL: Is there anyone who could testify in your behalf? (KATHY DOBSON shakes her head a cries.) ROSALIND KANDELL: I'm afraid it's almost impossible to prove then if it's just your word against his. KATHY DOBSON: He ... he hits me. Never in the face. Oh, he's too smart for that. He hits me in, in my back and in my sides and, um, once-once he burnt me with a cigarette. ROSALIND KANDELL: And you never told anyone? KATHY DOBSON: I-I have to go. Thank you for your time. (End of flashback. Resume to present.) ROSALIND KANDELL: If something's happened to her I guarantee you, her husband had something to do with it. CUT TO: SCENE #21: [INT. OFFICE BUILDING LOBBY -- DAY] (MARTIN and VIVIAN leave the building and walk toward their parked car.) MARTIN: If he was knocking her around so much how come nobody noticed? Family, friends, coworkers? VIVIAN: You'd be surprised the amount effort a woman will go to hide it. MARTIN: But from her own parents? VIVIAN: Well, it would explain why she didn't see him that much why she pulled away from her friends. MARTIN: Yeah, but maybe she was planning on skipping town. She goes to the lawyer, gives her that sob story and expects the lawyer to be her mouthpiece. VIVIAN: She'd have to be pretty cunning to do that. MARTIN: Well, I guess we better talk to the husband. VIVIAN: If we can find him. CUT TO: [EXT. NEW YORK CITY (STOCK) - DAY] SCENE #22: [INT. CAR WASH -- DAY] (VIVIAN walks down the hallway with RICHIE DOBSON.) RICHIE DOBSON: I swear to god, I've been trying him on his cell. He's just not answering, you know? He's probably at one of the addresses I gave him trying to find Kathy. CUT TO: SCENE #23: [INT. APARTMENT BUILDING - STAIRWELL -- DAY] (DANNY stands in the stairwell. His phone rings. He answers it and heads down the stairs.) DANNY: Taylor. INTERCUT WITH: SAMANTHA: Keep an eye out for the husband. We got a couple of agents staking out the entrance but he might already be inside the building. And I think I've got a lead for you. Joan Wilson, 4-D. She's on the board of the St. Francis battered women's shelter. Headquarters: Half a mile from Kathy's house. DANNY: All right, I'm on it. (DANNY hangs up, turns around and runs up the stairs.) CUT TO: SCENE #24: [INT. 4-D -- DAY] (The door to apartment 4-D is slightly open. The chain lock is broken. DANNY cautiously approaches the door with his weapon drawn.) (He pushes the door open only to have it stopped by the woman lying on the floor unconscious.) FADE TO BLACK. (COMMERCIAL SET) FADE IN. [EXT. NEW YORK CITY (STOCK) - DAY] LEGEND: 28 HOURS MISSING SCENE #25: [INT. HOSPITAL ROOM -- DAY] (DANNY stands just outside the room doorway. Inside the doctor looks over JOAN WILSON who is still unconscious. He looks up at DANNY and shakes his head. DANNY turns away and looks at his watch.) CUT TO: SCENE #26: [INT. FBI - MISSING PERSONS UNIT -- DAY] (JACK walks into the office. He meets up with SAMANTHA.) JACK: The husband's MIA. I've got Martin baby-sitting the brother, but... SAMANTHA: I just talked to Danny at the hospital. Joan Wilson's not ready to talk yet but it had to be the husband who got to her. JACK: Your instincts were good about him. SAMANTHA: Here's what I can't figure out. He's been abusing her for years, and she decides to run now, when she's eight and a half months pregnant? Doesn't make sense. JACK: Two weeks before D-day. Maybe she dug up the courage. SAMANTHA: Okay, then who's the guy in the overcoat? JACK: Is that Joan Wilson's rundown? SAMANTHA: Yeah. JACK: Does it say how tall she is? SAMANTHA: Uh ... five-foot-seven. JACK: That would fit the security video. SAMANTHA: It certainly would. Here's something weird. Joan Wilson, fourth grade teacher in Brooklyn hold the title on a tv repair shop forest hills. She picked it up at a foreclosure two years ago. JACK: TV repair shop? That's an odd sideline for a school teacher. CUT TO: SCENE #27: [INT. HOSPITAL -- DAY] (DANNY walks into the room. JOAN WILSON is now awake.) DANNY: Mrs. Wilson, hi. I'm Danny Taylor. I'm with the FBI. Would you mind if I ask you a couple questions? JOAN WILSON: I don't remember anything. DANNY: So you don't know who did this to you? JOAN WILSON: No. Someone knocked on my door, I answered it ... that's the last thing I remember. DANNY: Was it this man? (DANNY shows JOAN WILSON a picture of PAUL DOBSON. She looks at the photo and shakes her head.) JOAN WILSON: I don't know. I'm sorry. DANNY: No, that's okay. Look, whoever did this to you did they ask any questions? Specifically about a woman? JOAN WILSON: No. DANNY: Ever seen her before? (DANNY shows her a picture of KATHY DOBSON.) JOAN WILSON: (shakes her head) No. Wh-who is she? CUT TO: [EXT. TV REPAIR SHOP - DAY] SCENE #28: [INT. TV REPAIR SHOP -- DAY] (JACK and SAMANTHA enter the repair shop. A MAN comes out from the back room.) MAN: Can I help you? JACK: FBI. Would you mind if I checked your back room? MAN: What's the problem? JACK: Just looking for something. (Cut to: JACK pushes the door to the back room open. Inside is a woman with two children. The look back at him scared. JACK also sees equipment to make false documentation for Social Security Cards and Passports.) CUT TO: SCENE #29: [INT. TV REPAIR SHOP -- DAY] (The MAN in the front of the shop talks with SAMANTHA. JACK interviews the battered WOMAN in the shop.) MAN: I'm not saying a word to you. I want a lawyer. Now. JACK: Take a seat here. WOMAN: Please. Please don't take us back to my husband. You have no idea what he does to us. JACK: I understand. I really do. And I will help you ... but I need you to help me first. (The WOMAN looks uncomfortable.) Have you seen this woman? I know you've seen her. You saw how pregnant she is. She has a condition that's life-threatening to both her and the baby, and she doesn't even know it. I need to find her. (After a moment, the WOMAN leans forward and confesses.) WOMAN: She was here last night. (Quick flashback to: The backroom door opens and a woman with KATHY DOBSON walks in.) OVERCOAT WOMAN: Just come in and sit down. (to WOMAN) I'm sorry about this but we had an emergency situation, okay? (to KATHY) Everything's going to be all right. Sit tight. I'll be back in a few minutes. KATHY DOBSON: Okay. (The OVERCOAT WOMAN leaves the room. KATHY DOBSON turns and sees the WOMAN'S two children sleeping on the sofa. KATHY DOBSON'S pager beeps.) KATHY DOBSON: My husband. He pages me every three minutes. WOMAN: Why don't you turn it off? (KATHY DOBSON looks at the WOMAN as if the thought had never occurred to her to do something so simple. She smiles and shakes her head.) KATHY DOBSON: I don't know. WOMAN: You're here. You started the ball rolling, right? KATHY DOBSON: I was supposed to wait until after. WOMAN: Then he did something? KATHY DOBSON: He'd been good the past couple months, but ... (She sighs.) WOMAN: You did the right thing. For both of you. KATHY DOBSON: (nods) I hope so. (End of flashback. Resume to present.) WOMAN: She didn't look good to me, but ... she was only here for a couple of hours. They rushed through giving her new paperwork and then she was gone again. JACK: Do you have any idea where she is? WOMAN: No. With me, everything's been so well organized. But ... I don't think they were ready for her. CUT TO: WHITEBOARD TIMELINE: 6-8 PM - ARRIVES AT REPAIR SHOP SCENE #30: [INT. HOSPITAL] (DANNY'S phone rings. He answers it and leaves the room.) DANNY: Taylor. (pause) Mm-hmm. (pause) Mm. Mm-hmm. (As soon as he leaves the room, JOAN WILSON reaches for the hospital bedside phone. She dials then turns her head away from the door to talk.) (DANNY sees JOAN WILSON on the phone. He puts his own phone away and reaches over to grab the phone out of JOAN WILSON'S hand.) DANNY: Who were you calling, Ms. Wilson? JOAN WILSON: My sister, if that's all right. DANNY: We know you're part of an underground railroad that helps abused women. JOAN WILSON: What are you talking about? DANNY: You were arranging for Kathy Dobson to leave her husband. She called you from the hospital that day. You picked her up. We found the other woman and her son at your tv shop. Fake passports, wigs. Hmm? JOAN WILSON: You guys are good. DANNY: We need to find her, Ms. Wilson. Kathy's in danger. JOAN WILSON: Look what he did to me. If I didn't tell him where she was, do you really think I'm going to tell you? (DANNY doesn't say anything.) CUT TO: SCENE #31: [INT. FBI - HALLWAY/MISSING PERSONS UNIT -- DAY] (MARTIN and VIVIAN head back to the main office.) MARTIN: How many of these underground railroads are there? VIVIAN: We don't know. Maybe 15, 20 in the country. MARTIN: Ah. So, these guys forge passports they help mothers kidnap their children away from their fathers -- they break about a dozen different federal laws. Why don't we bust these people? VIVIAN: Well, I remember a couple of agents got close a few years back down in Texas. But when it came time to putting the squeeze on no one would talk. Let me tell you -- these women in the underground make the CIA boys look like a gossip convention. (The phone rings. MARTIN answers it.) MARTIN: Yeah. (pause) Hey. (pause) Mm-hmm. (pause) Wow. All right, I owe you one, man. Thanks. (hangs phone up) (to VIVIAN) Viv ... Dr. Feldman-- Kathy's second gynecologist -- his daughter Tracy was killed five years ago. Stabbed to death by her husband. We need to talk to the doctor again. (MARTIN walks out of the office.) CUT TO: SCENE #32: [INT. FBI - INTERVIEW ROOM -- DAY] LEGEND: 30 HOURS MISSING (MARTIN re-questions DR. FELDMAN.) MARTIN: You're in big trouble, Dr. Feldman. I know you think what you're doing is heroic, and on some level, it may be. But your over zealousness may cost Kathy and her baby their lives. DR. FELDMAN: How's that? MARTIN: We know from her other doctor that she's preeclamptic. I know you think you're doing the right thing by protecting your partners but the secrecy of your network has already been violated. Now, if Kathy's husband finds her before we do, I don't think you'd want that over your head. DR. FELDMAN: Look, I can't tell you where she is. I can't do it! MARTIN: Dr. Feldman, I know about your daughter Tracy. I understand why you do this. But I don't want to have to send you to prison. (DR. FELDMAN puts his head down.) MARTIN: All right, look. What if I was to tell you we're not interested in breaking up your network? (DR. FELDMAN looks at MARTIN.) MARTIN: All we want to do is find Kathy Dobson and bring her to safety. DR. FELDMAN: All right. I don't know where she is exactly. See, there's a system. So, only two or three people know where a runner is at any time. I know that she's in Staten Island a-and that's all. MARTIN: You got to give me more than that. DR. FELDMAN: All right, I have one contact in Staten Island. Someone I've worked with before, but it's just a phone number. I don't know if Kathy's there or not. MARTIN: All right, look, you've got to call over there. You tell them that you have another runner. She's in Staten Island and it's urgent. And she needs to get to that safe house. DR. FELDMAN: I'm not sure I can do that. MARTIN: Yeah, well, you're going to have to. (MARTIN holds out a cell phone.) Make the call. CUT TO: SCENE #33: [INT. FBI - JACK'S OFFICE -- DAY] (JACK and VIVIAN walk into the office.) JACK: All right, look I'm going to put four agents in two cars surveilling the house. If anything goes down ... VIVIAN: No surveillance. JACK: Come on, Viv. VIVIAN: I'm going in there out of the blue as it is. They get a sense that there's anyone around besides me, I'm not getting in there. Jack, they're not violent. JACK: These people have broken at least a dozen federal laws. If you get made, you become a big obstacle to them. VIVIAN: We're not going in there to bring them down, right? We're just going in there to find the woman. JACK: Like I said, they've broken at least a dozen federal laws. VIVIAN: No surveillance. (JACK looks at VIVIAN.) JACK: Two hours. That's all the time you got. After that, we're banging down the door. VIVIAN: All right. CUT TO: SCENE #34: [INT. STATEN ISLAND RESIDENCE -- EVENING] LEGEND: 32 HOURS MISSING (VIVIAN is in DIANE'S house. They're in the living room talking) VIVIAN: I've been married for six years. At first it was great but then two years into the marriage ... my husband lost his job, and he started drinking and then he started hitting me. It's been the same ever since. I reported him to the police, but they did nothing. DIANE: Why now? VIVIAN: A couple of months ago, I was pregnant and he pushed me, and I lost the baby. And that's when I decided I-I wouldn't take anymore. (Sighs) I just didn't know how to get away. Every time I talked about leaving he said he'd kill me first. DIANE: (watches VIVIAN carefully) You're doing the right thing. We can help you start a new life. VIVIAN: That's what I want. DIANE: Now, here are our rules: You cannot tell anyone, ever about anyone in the network. Not our names not our addresses, not what we do for a living. 'Cause even if you decide to go home there are other women that depend upon the secrecy of this system. And assuming ... that you have the good sense not to go home, you cannot call anyone. Not parents, siblings, friends, no one. Not ever. VIVIAN: I understand. DIANE: Oh, it's easy for you to say that now but you're going to start feeling badly about not saying good-bye. You're going to want to call someone. Maybe even your husband. Under no circumstances can you do that. Under no circumstances. VIVIAN: I-I wouldn't do that. DIANE: Okay, let's start arranging to get you some identification, huh? Give me all your old ids -- driver's license, credit cards. VIVIAN: I-I didn't bring any of that stuff. I thought that was the whole point. DIANE: Well ... ...good thinking. (She smiles and looks at VIVIAN. She then walks out of the living room.) CUT TO: SCENE #35: [INT. FBI - MISSING PERSONS UNIT -- NIGHT] (An AGENT walks into the office looking for MARTIN.) AGENT: Fitzgerald MARTIN: (o.s.) Here. AGENT: NYPD just called. Kathy Dobson's mother was just seen going up to her apartment complex with a suitcase. MARTIN: Thanks. (MARTIN leaves the office.) CUT TO: SCENE #36: [INT. DOBSON RESIDENCE - BEDROOM -- NIGHT] (MRS. POSEY walks out of the closet folding a shirt. She turns and sees MARTIN standing in the hallway.) MARTIN: What are you doing here, Mrs. Posey? (MRS. POSEY looks down and doesn't say anything. She sits down on the bed.) MARTIN: (quietly) Kathy called you, didn't she? (MRS. POSEY starts to cry.) CUT TO: SCENE #37: [INT. STATEN ISLAND RESIDENCE -- NIGHT] (VIVIAN gets up from the sofa and starts looking for DIANE. She can hear voices coming from the other room. VIVIAN looks around the place and sees a photo of DIANE in an officer's uniform.) DIANE: Who are you? (VIVIAN is startled. She turns around and sees DIANE holding a gun on her.) VIVIAN: What are you doing? DIANE: You're not scared, and you're way too curious. Now, who the hell are you? FADE TO BLACK. (COMMERCIAL SET) FADE IN. [EXT. STATEN ISLAND RESIDENCE - NIGHT] LEGEND: 34 HOURS MISSING SCENE #38: [INT. DIANE'S RESIDENCE -- NIGHT] (VIVIAN is in handcuffs and being questioned by DIANE.) DIANE: Look, you don't tell me what you're doing here right now you're going to make me use this. VIVIAN: (nods) Okay. My name is Vivian Johnson. I'm a Federal Agent and I'm looking for a woman by the name of Kathy Dobson. DIANE: Give me a break. You're a P.I. Somebody's husband sent you. I want to know who. VIVIAN: She has a medical condition and if she does not go to the hospital immediately she may die. DIANE: You are so full of crap. Look ... we can sit here all night but you will tell me who you are and what you're doing here. VIVIAN: I have a number. It is the New York office of the FBI. Now, if you don't want to get yourself into a world of trouble you'll call it and confirm my story. DIANE: Give me the number. CUT TO: SCENE #39: [INT. FBI - INTERVIEW ROOM -- NIGHT] (SAMANTHA and MARTIN question MRS. POSEY. MICHAEL POSEY sits out in the hallway.) MRS. POSEY: I don't how it could ever come to this. My sweet baby ... MARTIN: Tell us about the phone call. MRS. POSEY: It was a couple of hours ago. I was home with Michael; he was in the other room and the phone rang. (Quick flashback to: Back at the Posey's Residence, the telephone rings. MRS. POSEY answers it.) MRS. POSEY: Hello? KATHY DOBSON: Mom? MRS. POSEY: (smiles) Kathy! Where are you? INTERCUT WITH: (KATHY DOBSON is on a payphone.) KATHY DOBSON: I-I can't say. I just wanted to let you know I'm okay. MRS. POSEY: What are you talking about? We're worried sick. KATHY DOBSON: I wanted to say good-bye. I'm leaving. MRS. POSEY: Leaving? Where are you going? KATHY DOBSON: I-I have to go away. MRS. POSEY: But why? What's happened? KATHY DOBSON: It's Paul, mom. You know why. There are people, they can help me get set up again-- start a new life. I may not see you again. Not for a long time. Maybe not ever. MRS. POSEY: But ... KATHY DOBSON: It's okay. Don't worry. It's going to be better for me. Different. MRS. POSEY: Do you have money? Clothes? Please, let me bring you something. KATHY DOBSON: Mom, I ... I can't. MRS. POSEY: Just tell me where you are. I'll wait outside. You can come out. I just want to see you. (End of flashback. Resume to present.) MRS. POSEY: She told me to meet her at 7:00. She's waiting for me right now. SAMANTHA: You knew he was hitting her, didn't you? (She looks away.) MRS. POSEY: No ... I didn't. SAMANTHA: Then why would you let her go so easily? You knew Paul was hitting her, didn't you? (MRS. POSEY nods and starts crying.) MARTIN: Where is she, Mrs. Posey? MRS. POSEY: I don't know. He took the address. MARTIN: Who? MRS. POSEY: My husband. (SAMANTHA turns around to look at MICHAEL POSEY sitting out in the hallway.) I had it on a piece of paper I ... he wanted to come with me. I was just going to go to Kathy's apartment to get a few things ... and then we were going to go together. (Camera holds on MICHAEL POSEY.) CUT TO: SCENE #40: [INT. DIANE'S RESIDENCE -- NIGHT] (VIVIAN sits at the table. DIANE walks back into the room.) DIANE: What's so special about Kathy Dobson? VIVIAN: I told you; she's sick. DIANE: We got doctors that can treat her. VIVIAN: You don't understand. She's preeclamptic. She's a time bomb waiting to go off. DIANE: Look, even if you are telling the truth and we do take her to a real hospital she'll be exposed. VIVIAN: We can protect her. Look, Diane, in about ten minutes five FBI agents are going to come barreling through that door. You will be arrested and your network with be destroyed. DIANE: We are a lot stronger than any one person. And in the grand scheme of things, I'm very expendable. VIVIAN: Well, as far as I can see, other than these, you haven't broken any laws. But if Kathy Dobson dies you're going to be tried for murder in a very public trial. Think about what that's going to do to your network. (DIANE walks out of the room.) CUT TO: SCENE #41: [INT. FBI - JACK'S OFFICE -- NIGHT] (JACK questions MICHAEL POSEY.) JACK: So, your wife gave you the address. MICHAEL POSEY: This is between a husband and a wife. This is none of your concern. JACK: A husband and a wife? You gave Paul the address. You called him and you gave him the address. MICHAEL POSEY: She's his wife. JACK: He hits her. MICHAEL POSEY: That's a bunch of crap. He dotes on her. JACK: I know that you think that you're doing your daughter some good, but Paul is not even remotely a good guy. He smacks your daughter around. MICHAEL POSEY: We would have seen it. JACK: I don't think so. She's very good at hiding it. MICHAEL POSEY: How could she? JACK: I don't know. How did your wife hide it all these years? MICHAEL POSEY: What are you talking about? JACK: Look, I'd like to appeal to your more sensitive nature tell you that your daughter's in trouble but that doesn't seem to faze you. So, why don't we try this: If you make me wait one more minute for that address I'm going to have you sent to jail and locked up for impeding a federal investigation. Do you understand that, Mr. Posey? (MICHAEL POSEY reaches into his pocket and tosses a slip of paper on to the desk.) CUT TO: SCENE #42: [INT. DIANE'S RESIDENCE -- NIGHT] (DIANE walks back into the room.) DIANE: You got people around the house? You call them off. VIVIAN: I don't. I came alone. DIANE: I thought you said they were bursting in here any minute. VIVIAN: They know where I am. The house is not under surveillance, though. Look, if arresting you was our main objective we would have done that already. I came here alone and you're just going to have to trust me on that. (DIANE hesitates for a moment, then puts a blindfold on VIVIAN.) CUT TO: SCENE #43: [INT. HOSPITAL - JOAN WILSON'S ROOM] (DANNY talks with JOAN WILSON.)) DANNY: I know you're not going to give us anything but you got to do one thing for me. When we nail Paul Dobson, you got to testify what he did to you. He goes to jail, and Kathy goes free ... legally. (JOAN WILSON looks at DANNY.) CUT TO: SCENE #44: [INT. RESIDENCE -- NIGHT] (The door opens in to a darkened room.) DIANE: Step up. (DIANE leads a blindfolded and handcuffed VIVIAN into the living room. KATHY DOBSON sits on the sofa, a hand on her head and the other on her tummy.) DIANE: Kathy ... everything's going to be all right. (DIANE removes VIVIAN'S blindfold. VIVIAN sees KATHY on the sofa and sits next to her.) VIVIAN: Kathy, my name is Vivian Johnson, I'm with the FBI. How are you feeling? KATHY DOBSON: I'm okay. VIVIAN: Now, we're going to have to get you to the hospital. KATHY DOBSON: No, no, I'll be okay. VIVIAN: Look, you're going to have to get these off of me. DIANE: Look, we got doctors ... (PAUL DOBSON starts pounding on the door.) PAUL DOBSON: Kathy! Kathy! (KATHY gets up off of the sofa.) KATHY DOBSON: (afraid) Oh, my god, that's Paul. DIANE: Kathy, get back. (DIANE leads KATHY out of the room. She unlocks VIVIAN'S handcuffs.) PAUL DOBSON: Open this door! Kathy! Where's my wife?! (PAUL breaks the window and gets the door open. He bursts into the room wielding a gun.) (DIANE also has a gun pointed at PAUL DOBSON.) PAUL DOBSON: (shouting) All right, put the gun down! Drop the gun! (DIANE puts the gun down on the ground.) PAUL DOBSON: Back off! Back ... off! (DIANE backs away. PAUL DOBSON kicks the gun away.) PAUL DOBSON: Where's my wife? DIANE: Put the gun down. VIVIAN: Mr. Dobson, I'm a federal agent don't do anything stupid. PAUL DOBSON: I don't care who the hell you are. (KATHY DOBSON appears. DIANE walks up to her and puts her arms around her.) PAUL DOBSON: Kat ... you can come out. DIANE: She's not going with you. PAUL DOBSON: Shut up! (pause) Kathy... I'm sorry. I'm sorry for whatever I'd done. Kat ... I love you. Please ... (KATHY nods her head and takes a step forward.) VIVIAN: (quietly) You don't have to do that, Kathy. (KATHY stops walking. PAUL DOBSON yells at VIVIAN.) PAUL DOBSON: Shut up! Shut your mouth! Shut up! (to KATHY) Kat ... I love you. Come with me. (PAUL holds his hand out to KATHY.) KATHY DOBSON: (she shakes her head) Paul, I can't. You need help. PAUL DOBSON: I need help? (firmer) You come with me now. (Outside, car tires squeal. PAUL DOBSON turns his head to look. VIVIAN uses the distraction and grabs his arm holding the gun. She twists around and elbows him in the stomach. He goes down. VIVIAN holds his gun over him.) (SAMANTHA and JACK walk into the house, their weapons drawn.) JACK: Put the cuffs on him. (The officers pulls PAUL DOBSON to his feet.) PAUL DOBSON: You can't do this to me. I just want my family back. Kathy, please! JACK: Get him out of here. PAUL DOBSON: Kathy! I just want my family back. Kathy! KATHY DOBSON: I don't feel so well. SAMANTHA: Let's get you out of here. It's going to be okay. (SAMANTHA helps KATHY DOBSON out of the house.) JACK: (to VIVIAN) You all right? VIVIAN: (nods) Yeah. (JACK and DIANE look at each other.) JACK: (quietly) Who's this? VIVIAN: She's with Stanton Island P.D. (JACK and DIANE continue to look at each other. After a moment, JACK agrees.) JACK: Lucky you were here. (JACK turns and walks away. VIVIAN smiles thankfully at DIANE as she removes her handcuffs. They both leave the house.) FADE TO: (A close up of the video still of KATHY DOBSON walking out of the hospital with the OVERCOAT WOMAN.) FADE TO BLACK. ======================== THE END ======================== [Captioning sponsored by CBS and Warner Bros. Television Captioned by Media Access Group at WGBH access.Wgbh.Org] For corrections / inaccuracies, please contact the Transcriptionist at (intrepidly002@yahoo.com) Courtesy of http://www.webphilia.com/~anthology/wnp.html Please do not archive without permission. ======================== BEGINNING/TITLE CREDITS ======================== WITHOUT A TRACE 1X12: UNDERGROUND RAILROAD ORIGINAL AIR DATE ON CBS: 01/16/2003 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 JEFFREY PIERCE as Paul Dobson NICOLE DeHUFF as Kathy Dobson A.J. BUCKLEY as Richie Dobson JOHN RUBINSTEIN LAUREL HOLLOMAN as Joan Wilson ALAN BLUMENFELD as Dr. Krutzer NATALIJA NOGOLUCHI as Rosalind Kandell MARY KAY WULF STEVE RYAN as Michael Posey DAMARA REILLY as Diane 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 Written by HANK STEINBERG Directed by TOM McLOUGHLIN ======================== 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: SCOTT EILERS Music by PETER MANNING ROBINSON Theme by JOHNNY KLIMEK and REINHOLD HEIL Unit Production Manager: SCOTT "The Bear" MAITLAND First Assistant Director: KEN COLLINS Second Assistant Director: KRISTIN KILLEY Casting by: GARRY M. ZUCKERBROD, C.S.A. Casting by RONNA KRESS, C.S.A. and TRACY KAPLAN, C.S.A. Guest Starring PATRICE JOHNSON as Molly TARA BUCK as Julie ERIC SCOTT GOULD as Agent TIM SNAY as Man Technical Advisor: MARK LLEWELLYN Set Decorator: JEANNIE GUNN, S.D.S.A. Property Master: JOHN HARRINGTON Costume Designer: ALIX FRIEDBERG Costume Supervisor: SUE BUB Make-up Artist: TINA ROESLER KERWIN Hairstylist: STEPHEN A. ELSBREE Production Sound Mixer: JAY PATTERSON, C.A.S. Location Manager: MICHAEL PAOLILLO Transportation Coordinator: JIMMY DEPUE Supervising Sound Editor: VICTOR IORILLO Music Supervisor: JASON ALEXANDER Music Editor: MELISSA FERGUSON Re-recording Mixers: YURI REESE / BILL SMITH Film Processing by FOTOKEM Main Title Design by SKIP FILM Visual Effects by ASYLUM cbs.com FBI Technical Advisor: DENNIS BONELLI / JENNIFER A. BLEIER The producers wish to thank the New York office of the FBI for their help and cooperation. The characters and events depicted in this motion picture are fictional. Any similarity to any actual person, living or dead, or to any actual events, firms, and institutions or other entities, is coincidental and unintentional. This motion picture is protected under the Laws of the United States and other countries, and its unauthorized duplication, distribution or exhibition may result in civil liability and criminal prosecution. Copyright 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:03/21/2003~lky http://www.webphilia.com/~anthology/wnp.html