WITHOUT A TRACE 1X19: VICTORY FOR HUMANITY ORIGINAL AIR DATE ON CBS: 04/10/2003 TRANSCRIBED FROM CBS Teleplay by: HANK STEINBERG Story by: JAN NASH & GREG WALKER Directed by: CHARLES CORRELL Transcript by Intrepid Courtesy of http://www.webphilia.com/~anthology/wnp.html Please do not archive this transcript without permission from the Transcriptionist RATING: TV-PG-LS HDTV ========================== 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. CONDITIONS OF USE: (1) Do not alter the content of this file. (2) Leave the headers/disclaimers in tact because it lists all those who have made this transcript possible for your enjoyment. (3) Provide a link back to the site where this file originated: http://www.webphilia.com/~anthology/wnp.html Contact the Transcriptionist at (intrepidly002@yahoo.com) ========================== SUMMARY: A high school teacher goes missing. Was he kidnapped? Or did he simply leave on his own? ========================== WITHOUT A TRACE 1X19: VICTORY FOR HUMANITY ========================== FADE IN [EXT. NEW YORK CITY (STOCK) - NIGHT] [EXT. SCHOOL BUILDING (STOCK) - NIGHT] CUT TO: SCENE #01: [INT. THOMAS DEWEY HIGH SCHOOL BUILDING - CLASSROOM - NIGHT] (JOSH ABRAMS teaches class.) JOSH ABRAMS: Now, for Watson and Crick, the moment finally arrived in a sudden flash of inspiration ... (JOSH ABRAMS walks back to the front of the class where he picks up the DNA model. He holds the two nucleotides, one in each hand and pulls them apart to illustrate what he means.) JOSH ABRAMS: ... two nucleotides. One twisting upward, the other down. RICH: Why is it all clumping together? JOSH ABRAMS: Okay, picture it-- what does a DNA molecule look like? RICH: It's uh, stringy, right? JOSH ABRAMS: "Stringy..." (thinks about it, then smiles) ... that's exactly right. Rich, you're smarter than you look. (The class chuckles.) JOSH ABRAMS: That's exactly right. Legend has it, the night they made this discovery, Crick went out to a bar, ordered a beer -- Guinness, I like to imagine -- (The class laughs.) JOSH ABRAMS: And announced that he discovered the secret of life. (pauses) Great moment. I hope you each have a moment like that. Without the beer, of course. (The class laughs again.) RICH: Mr. Edwards, wasn't Watson like, 23 or something? JOSH ABRAMS: Yes, he was, which gives you-all about six years to get your acts together. Starting ... (he looks at his watch) ... all right, tomorrow morning. (He waves them away.) JOSH ABRAMS: Go. (The students stand up to leave. RICH gets out of his seat and approaches JOSH ABRAMS.) RICH: I wanted you to know I dropped AP Spanish. JOSH ABRAMS: How'd your dad take that? RICH: Well, I told him what you told me. I think he's all right. JOSH ABRAMS: I think it's the right choice. RICH: Thanks, Mr. Abrams. (RICH leaves. RILEY MARTIN walks up to JOSH ABRAMS.) RILEY MARTIN: Mr. Abrams? JOSH ABRAMS: Yeah. RILEY MARTIN: Do you have two seconds to look at my tri-square numbers? JOSH ABRAMS: Uh, you know what, Riley? Not tonight, okay? (she looks at him and he hesitates) First thing tomorrow. RILEY MARTIN: Promise? JOSH ABRAMS: Get out of here. Go. (JOSH ABRAMS puts his things away in his bag. The class has all cleared out of the classroom.) SHORT TIME CUT TO: [HALLWAY OUTSIDE CLASSROOM] (JOSH ABRAMS walks out of his classroom and into the hallway. The door closes behind him. He walks down the hall for a moment, then turns around. He looks behind him and sees no one there. He turns around and continues down the hallway.) (As he walks down the hallway, JOSH ABRAMS vanishes.) CUT TO: SCENE #02: [INT. ABRAMS' APARTMENT - STAIRWELL -- DAY] (DANNY and MARTIN walk up the stairs. They're heading for JOSH ABRAMS' apartment. They just reach another floor and continue up the stairs.) DANNY: This is three. Just two more to go. MARTIN: Oh! Why is it that no one in a walkup ever lives on the first two floors? DANNY: Vampires. MARTIN: Really? DANNY: Yeah, they have all the lower apartments all to themselves. MARTIN: No direct sunlight, right? DANNY: Exactly. Plus, they live to be 106 years old, so the apartments never turn around. MARTIN: Oh, that's good to know. (They reach the floor and enter JOSH ABRAMS' apartment. They pass the Officer standing near the door.) DANNY: Whew! CUT TO: SCENE #03: [INT. ABRAMS' APARTMENT - DAY -- CONTINUOUS] (DANNY and MARTIN walk into the apartment and meet up with SAMANTHA who fills them in.) SAMANTHA: Okay, his name is Josh Abrams, 26, science teacher at Thomas Dewey up in the Bronx, last seen leaving the school two days ago. MARTIN: Long way down here from the Bronx. How's he commute? SAMANTHA: Subway. Police are canvassing the station up by the school. DANNY: Anything missing? SAMANTHA: Nothing obvious. And there's no sign of forced entry. (DANNY steps away.) MARTIN: What'd you get from the landlord? SAMANTHA: There is no landlord. Abrams owns the whole building. (MARTIN looks around the apartment at the building.) MARTIN: Not bad for a public school teacher (DANNY walks around the apartment looking around.) SAMANTHA: Take a look at this. (SAMANTHA leads MARTIN over to look at a framed magazine cover on the wall. It's for 'IPO BUZZ'. The front cover is a picture of three men, JOSH ABRAMS in the middle. The headline reads: LEVITICAN IPO WOWS WALL STREET.) SAMANTHA: Levitican.Com. Josh founded it right out of Princetown. Went public at 16, topped off at 135. He got out right before the bust. MARTIN: One of the lucky few. Levitican.Com. I never heard of them, what do they make? (SAMANTHA smiles at how easy it is sometimes.) SAMANTHA: Money. (MARTIN smiles. He looks around and something on the table catches his eye. It's an award with an engraved saying by HORACE MANN on the front. He kneels down to read it.) MARTIN: Oh, yes. (reads) "Be ashamed to die until you have won some victory for humanity." (He stands up again.) MARTIN: There's some pressure for you. (Meanwhile, DANNY finds something on the table nearby and picks it up carefully.) SAMANTHA: Yeah. DANNY: Guys? (MARTIN and SAMANTHA turn and walk to DANNY.) DANNY: Creatine, amino acids, vitamin supplements ... heroin. SAMANTHA: How do you know it's not wheat germ? DANNY: Oh, this is a dealer's bag. (DANNY holds it out for SAMANTHA and us to see. It's a plastic bag filled with white powder.) CUT TO END OF TEASER ROLL TITLE CREDITS (COMMERCIAL SET) FADE IN. [EXT. NEW YORK CITY (STOCK) - DAY] LEGEND: 39 HOURS MISSING SCENE #04: [INT FBI - BULLPEN -- DAY] (The camera sweeps past the WHITEBOARD with JOSH ABRAMS' photo hanging on it and with the following: 7A-NY-21764 / "JOSH ABRAMS".) (SAMANTHA walks into the office toward VIVIAN who is sitting at the conference table.) SAMANTHA: Young, idealistic teacher turns out to be dealing smack. VIVIAN: Mmm! SAMANTHA: If we're not careful, this is going to end up in the front page of the post. VIVIAN: You talked to vice? SAMANTHA: Yeah, they're going to get us a list of known drug dealers in the Bronx. Anything from the hospitals and morgues? VIVIAN: Uh-huh. NYPD's checking incident reports and transit logs from that night, but nothing so far. Where are the boys? SAMANTHA: Headed up to the school. You got anything else? VIVIAN: Yeah ... (she picks up a piece of paper) ... a young woman by the name of Carmen Daniels. Called Josh at his home phone four times on the day that he disappeared. Hey, don't take your coat off, you're going to meet parents back at Josh's apartment in twenty minutes. SAMANTHA: (groans) Ugh, it's five flights of stairs. (SAMANTHA turns to leave, VIVIAN goes back to work.) VIVIAN: Better than a stairmaster. (SAMANTHA stops and turns around.) SAMANTHA: Hey, where's Jack? (VIVIAN looks up.) VIVIAN: He's going to meet you over there. SAMANTHA: Is there something going on with him? (VIVIAN looks at SAMANTHA and doesn't say anything.) SAMANTHA: Come on, Viv. VIVIAN: It's his daughter Hannah. She's still a little spooked out by Freddy Katan. I mean, the guy showed up at her school. SAMANTHA: God, I don't know how you guys do it. VIVIAN: Me, neither. CUT TO: SCENE #05: [INT. THOMAS DEWEY HIGH SCHOOL - HALLWAY -- DAY] (The bell rings and the students are in the hallways between classes. MARTIN and DANNY interview STUART WESMAR, the assistant principal, as they head to JOSH ABRAMS' science class.) MARTIN: So, he's the kind of teacher that kids turn to with their problems? STUART WESMAR: Public school guidance programs aren't what they used to be. Josh fills a need. DANNY: Maybe he got in over his head? STUART WESMAR: If Josh had a really troubled student, I think he'd say something to me. MARTIN: So, you're friends. STUART WESMAR: He beats me regularly at racquetball, and tried to get me into rowing - (He sees a student near the lockers and says something to him.) STUART WESMAR: What's up, Ben? (They reach the classroom.) Here we go. Josh's pride and joy. (STUART WESMAR opens the door and they walk inside.) [SCIENCE CLASSROOM - DAY -- CONTINUOUS] (WESMAR closes the door and they congregate around the front desk.) STUART WESMAR: He developed this program for advanced students, so they could run their own experiments. Two of his kids made it to the intel science semi- finals. (DANNY passes his hand in front of the experiment on the table.) STUART WESMAR: (to DANNY) I wouldn't touch anything - (smiles) ... that's a working plasma laser. DANNY: I knew that. (DANNY and MARTIN look at each other.) STUART WESMAR: Josh is completely dedicated to these kids. 8:00, 9:00 at night, (Quick flashback to: On the other side of the classroom, JOSH ABRAMS is in the center of a group of students showing them the results of an experiment.) STUART WESMAR: (v.o.) ... he's still here, working with them, talking to them. (They vanish. End of flashback. Resume to present.) (WESMAR turns back to look at MARTIN and DANNY.) STUART WESMAR: Josh's students are beside themselves. If you'd have asked me three years ago, I didn't think he'd make such an impression. MARTIN: Why's that? STUART WESMAR: Ivy league do-gooder out to change the world. That show usually closes pretty quick up here. DANNY: Kids are tough at this school, huh? STUART WESMAR: Tough and smart. Which can be a nasty combination. DANNY: Mr. Wesmar, do you have a drug problem here? STUART WESMAR: No more than anywhere else. They're teenagers. (Again, MARTIN and DANNY look at each other. MARTIN nods his head and looks back at WESMAR.) CUT TO: SCENE #06: [INT. ABRAMS' APARTMENT BUILDING - STAIRS -- DAY] (SAMANTHA and JACK climb the stairs up to JOSH ABRAMS' apartment.) SAMANTHA: I heard about Hannah. Is she okay? JACK: It's complicated. SAMANTHA: Did you tell her her dad caught the bad guy? JACK: I told her there are no bad guys. (beat) What do we know about these parents? (They reach the floor, turn the corner and head down the hallway toward the apartment.) SAMANTHA: Well, the father's a teacher, the mother's a social worker. JACK: Community service runs in the family. Only child? SAMANTHA: Yep. (They walk out of camera frame.) SHORT TIME CUT TO: SCENE #07: [INT. JOSH ABRAMS' APARTMENT - MAIN ROOM -- DAY -- CONTINUOUS] (JACK and SAMANTHA interview JOSH ABRAMS' parents.) JACK: How has your son been lately? MRS. ABRAMS : Not himself. He's been withdrawn, preoccupied. MR. ABRAMS: We used to see him at least twice a week for dinner. But the last couple of months we can barely get him on the phone. MRS. ABRAMS: We've been very concerned. But he kept insisting that everything was great. Better than ever. SAMANTHA: Do you have any idea what had him so preoccupied? (MRS. ABRAMS turns to look at her husband. He sighs.) MR. ABRAMS: Well, a few days ago, we decided enough's enough, we've got to talk to him, find out what's going on, so we came over here to wait for him. MRS. ABRAMS: We have our own key, so we let ourselves in. (SAMANTHA perks up at this bit of information and glances at JACK. She lifts up her notepad and writes something down.) MR. ABRAMS: About ten o'clock, he walks in the door and he's a mess. (Quick flashback to: JOSH walks into his apartment disheveled and looks very surprised and a bit irritated at seeing his parents inside.) JOSH ABRAMS: Mom, dad, what are you doing here? MRS. ABRAMS: Josh, what happened to your shirt? JOSH ABRAMS: I was just wrestling with a couple of kids at school. It was stupid. (He moves to pass them and head for the back of the apartment, when his father stops him.) MR. ABRAMS: Josh. (He stops and sighs heavily. He turns around to answer them.) JOSH ABRAMS: All right. There's something going on with one of my students. He's having a lot of trouble, and I've kind of gotten myself into the middle of it. MRS. ABRAMS: What kind of trouble? (He pauses and shakes his head.) JOSH ABRAMS: I really don't want to get into it too much. MRS. ABRAMS: Josh, between the two of us, your father and I have forty years of experience with social work and children's psychology. We can help. JOSH ABRAMS: And if I think it's something I can't handle, of course, I will call you. MR. ABRAMS: If you're handling it, what happened to your shirt? (She steps forward.) MRS. ABRAMS: Listen to me, honey. You, you are devoted to these kids, and that is admirable. But you have got to be careful. You cannot solve all of their problems. JOSH ABRAMS: Look, I love you, I appreciate your concern, but I know how to take care of myself. I'm fine. Really. (He pushes past them and walks away.) (End of flashback. Resume to present.) MRS. ABRAMS: We should have pushed him. Whatever it was, we should have known. JACK: He didn't talk about what it was exactly? He didn't tell you who the student was? MR. ABRAMS: No. It was the first we heard of it that night. CUT TO: SCENE #08: [INT. ABRAMS' BUILDING - HALLWAY OUTSIDE APARTMENT -- CONTINUOUS] (JACK and SAMANTHA walk through the hallway away from the apartment.) SAMANTHA: Just a little bit controlling. JACK: Wonder if they let him go to the bathroom by himself. SAMANTHA: (smiles) A key to his apartment? JACK: Yeah, I know. SAMANTHA: If he was 16 instead of 26, I'd say he ran away from them. (They turn the hallway corner and start down the stairs.) CUT TO: WHITEBOARD: 3 DBD -- JOSH IN FIGHT WITH STUDENT? CUT TO: SCENE #09: [INT. THOMAS DEWEY HIGH SCHOOL - SCIENCE CLASSROOM -- DAY] LEGEND: 41 HOURS MISSING (DANNY interviews RICH.) DANNY: Do you like Mr. Abrams? RICH: Oh, yeah, he's a great guy. DANNY: Well, what do you mean, "a great guy"? RICH: Well, I mean, he just helps people out with their personal problems, and cares about his students and stuff, takes care of them. (Nearer the front of the room several lab tables away, MARTIN writes his notes. The front classroom door opens and STUART WESMAR walks in with RILEY and stays for the interview.) STUART WESMAR: This is Riley, Martin. Special Agent Fitzgerald. MARTIN: Hi, there. RILEY MARTIN: You don't look like an FBI Agent. (He laughs, then launches into the interview.) MARTIN: Look, uh, we're trying to find out if Mr. Abrams was having trouble with any of his students. RILEY MARTIN: Oh, none of the kids in his class would do anything; we love him. MARTIN: What about kids outside his class? (RILEY stops, obviously she's thought of something. WESMAR turns to glance at her. At her hesitation, MARTIN glances at WESMAR.) RILEY MARTIN: (hesitant) Um ... do you think that we could talk privately? MARTIN: (to RILEY) Sure. (to WESMAR) It's okay. STUART WESMAR: I'll be over here. (WESMAR moves away to give them their privacy.) MARTIN: All right. RILEY MARTIN: About a week ago, I was coming out of the school, and I saw Mr. Abrams arguing with Mace Williams. MARTIN: And who is Mace Williams? RILEY MARTIN: He's our student body drug dealer. (Quick flashback to: RILEY pushes the front doors open and walks out of the school. It's dark. She stops when she sees JOSH ABRAMS and MACE WILLIAMS arguing. She takes a couple steps back and hides behind something while keeping an eye on the two. JOSH ABRAMS appears to be angry.) MACE WILLIAMS: Look, you've got to give it back to me! JOSH ABRAMS: Are you out of your mind? You're lucky I didn't drag you down to Wesmar's office and have you expelled or worse. MACE WILLIAMS: Mr. Abrams, please! JOSH ABRAMS: Your too smart to be mixed up in this kind of stuff MACE WILLIAMS: You don't understand! I'm going to catch hell from my supplier for this. JOSH ABRAMS: Your sup-, your supplier? MACE WILLIAMS: Yeah, I don't make this stuff in my basement! JOSH ABRAMS: (rubs eyes) All right, look. You tell your supplier to come and see me and I will straighten this out, okay? (ABRAMS walks away in one direction; MACE WILLIAMS walks away in the other direction.) MARTIN: (v.o.) What kind of drugs has he been dealing? (End of flashback. Resume to present.) RILEY MARTIN: Uh, pot, coke, just about everything. MARTIN: Have you seen him today? RILEY MARTIN: I think I saw him earlier, hanging out by exit eight. MARTIN: All right, thank you. RILEY MARTIN: Wait. Please, don't let him know that I told you. MARTIN: It'll be our secret. (MARTIN turns around and calls out to DANNY.) MARTIN: Danny. (He stands up.) CUT TO: SCENE #10: [EXT. THOMAS DEWEY HIGH SCHOOL - DAY -- CONTINUOUS] (MACE WILLIAMS talks and laughs with his friends as DANNY, with his sunglasses on, walks out of the school behind them.) DANNY: (calls out) Hey, Mace! (MACE WILLIAMS sees DANNY walking rapidly toward him and tries to run. DANNY catches him easily.) DANNY: Hey, where you going, brother? (MARTIN blocks MACE WILLIAMS' escape out the back.) MARTIN/DANNY: Whoa, whoa, whoa, whoa! (MACE turns around and raises his hands.) MACE WILLIAMS: I swear to god, I don't know where Mr. Abrams is! (The two agents escort MACE WILLIAMS back into the school.) MARTIN: You know something, or you wouldn't be running. Let's go. FADE TO BLACK. (COMMERCIAL SET) FADE IN. [EXT. NEW YORK CITY (STOCK) -- DAY] SCENE #11: [EXT. THOMAS DEWEY HIGH SCHOOL - HALLWAY - DAY] (MARTIN and DANNY interview MACE WILLIAMS in the outside hallway.) MACE WILLIAMS: I swear to God, I didn't do anything to Mr. Abrams. DANNY: Okay, shut up, stop swearing to god, and start telling us why you were going to run. (DANNY pushes his sunglasses up and looks at MACE.) MACE WILLIAMS: I seen you coming up on me, I figured you heard something. MARTIN: And what would we hear? MACE WILLIAMS: I don't know. MARTIN: What? (MARTIN removes his sunglasses.) DANNY: How about this? Josh Abrams took your drugs, you got pissed, and you took him out. MACE WILLIAMS: Nope. No way. MARTIN: Maybe you told your supplier where he could find him, so he could take him out. (With this scenario, MACE looks at MARTIN and DANNY.) DANNY: You'll have to tell us either here, or behind bars. And if I were you, I'd do it here. MACE WILLIAMS: Look, I tell you, he's going to kill me. MARTIN: Oh, come on, no one's going to kill you, Mace. You're going to be in our custody. MACE WILLIAMS: All right, I had no choice. I told Panda. MARTIN: "Panda"? MACE WILLIAMS: Blue Panda. I think his real name is Jackson or something. DANNY: Great. Where can we find "Blue Panda"? (MACE shrugs.) CUT TO: SCENE #12: [INT. FBI - INTERVIEW ROOM - DAY] LEGEND: 43 HOURS MISING (BLUE PANDA sits at the table inside the conference room. He looks extremely bored.) MARTIN: All right, then ... is it Mr. Blue or Mr. Panda? (MARTIN stands in front of the conference table with an open file in his hands. DANNY closes the door behind them.) (BLUE PANDA leans back in his seat and looks up at MARTIN.) BLUE PANDA: It's Mr. Jackson to you. (MARTIN laughs.) DANNY: As in Michael? Or Stonewall? (DANNY pulls up a seat at the table.) DANNY: See, if I were you, I'd pick Michael, because singing works a lot better than silence around here. BLUE PANDA: Yeah, real funny. You make that up all by yourself? DANNY: (reading) Grand larceny, assault with a deadly weapon, four counts of felony drug possession, three counts of distribution. I'm smelling a lifetime achievement award. (to MARTIN) What do you think? MARTIN: I'm sure his mama's real proud. DANNY: Oh, yeah. BLUE PANDA: Yeah, you guys are real good. Maybe you and Opie should take this over to Star Search or something. MARTIN: We've got a highly respected teacher gone missing two days after he confiscated a quarter kilo of your heroin. DANNY: And we got four witnesses that say they saw you outside the school the night he went missing. MARTIN: You're going away, Mr. P. Ten years for selling smack to minors, or life for taking out this teacher, so if you got something to say, say it now. (BLUE PANDA laughs and shakes his head.) BLUE PANDA: Man, that kid was whacked. DANNY: So you saw him that night? BLUE PANDA: (seriously) Look, man, I'll tell you I saw him, but ... I ain't signing no statements. (Quick flashback to: [EXT. HIGH SCHOOL PARKING LOT] JOSH ABRAMS is walking toward his parked car. He pulls out his keys from his pocket and reaches the driver's side door. He unlocks and opens the door when BLUE PANDA walks up casually behind him.) BLUE PANDA: What's up, teach? (JOSH ABRAMS turns around.) JOSH ABRAMS: Who are you? BLUE PANDA: (doesn't look at ABRAMS) Mace Williams says you're the man I need to talk to. JOSH ABRAMS: So you're Panda? BLUE PANDA: Why don't you just give me back my goods, man? JOSH ABRAMS: Why don't you just stay away from my school. BLUE PANDA: Aw, you trippin'. (Turns to look at ABRAMS and takes a step closer getting into his face.) BLUE PANDA: You think you Charles Bronson or something? Hmm? Now, look here ... you don't want to see your boy Mr. Mace get hurt, right? So why don't you just give me back my stuff? JOSH ABRAMS: Meet me here tomorrow night, same time. BLUE PANDA: Just like that, huh? JOSH ABRAMS: On one condition: You take your business somewhere else -- away from Mace, away from this school, or I'll get the cops involved. (BLUE PANDA looks at ABRAMS for a moment.) BLUE PANDA: You got yourself a deal. (He turns, then walks away.) (End of flashback. Resume to present.) BLUE PANDA: So the next night, I was there, he wasn't. That's all I know. CUT TO: SCENE #13: [INT. FBI - HALLWAY -- DAY] (MARTIN and JACK walk through the hallway toward the bullpen where MARTIN fills JACK in on what they've learned.) MARTIN: This guy's a piece of crap, but we don't think that he had anything to do with the disappearance. JACK: Okay, make your deal with Mace Williams, and throw the book at Jackson on the drug charges. MARTIN: You got it. (They enter the bullpen where MARTIN leaves. SAMANTHA gets JACK'S attention and fills JACK in on what she's learned.) SAMANTHA: I've been into Josh's financial records. He arranged to withdraw $100,000 from one of his bank accounts. He picked it up -- in cash -- the day before he disappeared. Now, I'm thinking that sounds like some kind of payoff money. JACK: So far, the guy's squeaky clean. SAMANTHA: Yeah, so far. I'll keep digging. JACK: Okay. (SAMANTHA leaves.) CUT TO: SCENE #14: [INT. FBI -- CONFERENCE ROOM -- DAY] (VIVIAN escorts CARMEN DANIELS in to the conference room to interview her. They take a seat at the conference table.) VIVIAN: Thanks for coming in, Miss Daniels. CARMEN DANIELS: Uh-huh. It's the least I can do. I'm so worried about Josh. VIVIAN: Now, you called him four times in his home the day before he disappeared. Was something wrong? CARMEN DANIELS: I hadn't seen him for a few weeks, and I was just kind of jonesing for his company. VIVIAN: And did he call you back? CARMEN DANIELS: No. So I went over there, and ... that's what's got me so freaked out now. He was acting so weird. (Quick flashback to: CARMEN DANIELS knocks rhythmically on JOSH ABRAMS' apartment door.) CARMEN DANIELS: (calls out) Josh, it's me, Carmen. (JOSH opens the door, surprising CARMEN. He keeps the door partially closed, blocking the entrance with his body and doesn't invite her inside.) CARMEN DANIELS: Geez, I have been knocking for, like, ten minutes. JOSH ABRAMS: How'd you get up here? CARMEN DANIELS: What kind of a greeting is that? (JOSH steps outside into the hallway and closes the door.) JOSH ABRAMS: Uh, listen, Carmen ... now's really not a good time. CARMEN DANIELS: (moans) I'm drunk and I'm hungry. Come on. You make me some of your famous turkey chili. Josh ...! (She tries to get inside the apartment and JOSH blocks the door, preventing her from opening the door.) JOSH ABRAMS: Look, I have a lot of work to do. (She looks a little surprised and suspicious, but is too out of it to notice or take it seriously.) CARMEN DANIELS: (smiles) Have you got somebody in here? JOSH ABRAMS: Carmen, please. Let me walk you downstairs, okay? (He motions her back to the stairs and turns to escort her in that direction. She groans, then laughs and appears to allow him to lead her there.) (Suddenly, she playfully turns and makes a break for the door. JOSH turns and grabs her from behind, stopping her from opening the door.) JOSH ABRAMS: No, no, no! CARMEN DANIELS: (angry) Damn it, Josh! What's wrong with you? I was joking around. JOSH ABRAMS: I'm sorry. (CARMEN gets it. She turns and leaves.) CARMEN DANIELS: Never mind. JOSH ABRAMS: Carmen, I'm really sorry. I'm really sorry. (End of flashback. Resume to present.) CARMEN DANIELS: I can't imagine what was going on in there that he couldn't tell me. VIVIAN: Now, Josh withdrew a lot of money from his account yesterday. Could he have been running away? CARMEN DANIELS: From what? He loves his life. VIVIAN: Maybe so, but he wouldn't let you in. He was hiding something. (Camera holds on CARMEN.) CUT TO: WHITEBOARD: 10 PM - SOMEONE IN JOSH'S APARTMENT? SCENE #15: [INT. FBI - JACK'S OFFICE -- DAY] LEGEND: 44 HOURS MISSING (VIVIAN sits in front of the desk and discusses the case with JACK as he works.) JACK: Hundred grand and a mystery guest behind door number one. It's starting to feel like this guy left on his own volition. VIVIAN: Yeah, but there's nothing in his profile to suggest he'd do something like that. JACK: You didn't meet his parents. Maybe he cracked under the pressure of being Mr. Perfect, grabbed a hundred G's and jetted off to Bangkok. VIVIAN: And left $10 million in the bank? JACK: It'll be there when he gets back. (SAMANTHA walks into the office.) SAMANTHA: Okay, listen to this. I just got a call from the harbor patrol. They found a rowing scull floating under the docks down by south street seaport. The scull was from a private rowing club up on the Harlem River. They did a check. The only boat that's missing belongs to Josh Abrams. CUT TO: [EXT. NEW YORK CITY (STOCK) - DAY] SCENE #16: [EXT. SOURTH STREET SEAPORT DOCKS -- DAY] (DANNY and SAMANTHA make their way toward the docks to check out JOSH ABRAMS' scull.) SAMANTHA: Couple tourists spotted it caught below the deck about forty minutes ago. DANNY: Well, that boathouse is what, eight miles up the river? SAMANTHA: Yeah, but the harbormaster says it's been choppy all day. DANNY: What about the traffic? SAMANTHA: Busiest in the mornings, mostly heading north. DANNY: What did the divers find? SAMANTHA: Nothing so far. We're tying to track a flow pattern from the Harlem River, but the currents are pretty fierce. Forensic's waiting to take a look at the boat now. (They reach the edge just in time to see the men pull out the scull, number 536.) DANNY: 536. That's definitely Josh's. SAMANTHA: Yeah. Someone better call the family. CUT TO: [EX.T NEW YORK CITY (STOCK) - NIGHT] LEGEND: 47 HOURS MISSING SCENE #17: [INT. FBI - CONFERENCE ROOM -- NIGHT] (VIVIAN interviews and informs the ABRAMS about what they've found.) MR. ABRAMS: It doesn't make any sense. Josh would never go out in this weather. VIVIAN: How often did he take his scull out? MRS. ABRAMS: Spring, summer, fall, a couple times a week, but never in the winter. VIVIAN: Well, our forensics team examined the boat, and the oar locks had been broken with a tire iron. MRS. ABRAMS: What does that mean? VIVIAN: It means that they were probably broken intentionally. MR. ABRAMS: To make it look like an accident? VIVIAN: Yeah. (MRS. ABRAMS starts to cry.) MRS. ABRAMS: Oh, my god! MR. ABRAMS: Uh, wha-whatever happened with that student, um ... the one Josh was having problems with. Did you find him? VIVIAN: We're still working on that. CUT TO: SCENE #18: [INT. FULLER RESIDENCE -- NIGHT] (The door to apartment #8 opens as GARY FULLER answers it. SAMANTHA and JACK introduce themselves and why they're there.) SAMANTHA: Hi. I'm Special Agent Samantha Spade with the FBI. This is Special Agent Jack Malone. We're looking for Calvin Fuller. GARY FULLER/FOLER: What's he done? JACK: Nothing that we know of. We just want to talk to him about a teacher that's gone missing. (GARY FULLER turns around yells back into the apartment.) GARY FULLER/FOLER: Cal! (He steps aside and allows them into the apartment.) [INT. FULLER RESIDENCE - NIGHT -- CONTINUOUS] (SAMANTHA and JACK walk into the apartment. CAL walks into the main living room.) GARY FULLER/FOLER: Cal, come out here. They're with the FBI. They want to talk to you about that teacher. CALVIN FULLER/FOLER: What about him? (CALVIN and GARY take a seat. JACK and SAMANTHA remain standing.) GARY FULLER/FOLER: Cigarette? SAMANTHA: No. JACK: No ... SAMANTHA: No. Thank you. JACK: Thanks. (JACK looks down at his notebook.) JACK: Um, you were having some problems in Mr. Abrams' class, I believe. CALVIN FULLER/FOLER: No, not really. JACK: Really? D's, F's, incompletes, multiple absences ... CALVIN FULLER/FOLER: so I haven't been doing well lately, so what? SAMANTHA: So what was your relationship with him? CALVIN FULLER/FOLER: Not much. SAMANTHA: What about that kid you punched out in class a few months back? CALVN FULLER/FOLER: How about him? JACK: Mr. Abrams talk to you about that? GARY FULLER/FOLER: (interrupting) Wait a minute -- you think my son had something to do with this guy's disappearance? (CALVIN looks from his dad back to JACK and SAMANTHA.) CALVIN FULLER/FOLER: Look, I like Mr. Abrams. He's a good guy. I'm the one who's been screwing around lately. (Out from the bedroom, TERI FULLER walks out. She glances at them, makes eye contact with SAMANTHA, then turns to head back to her bedroom. As she turns to leave, SAMANTHA notices the big bruise on the right side of her face.) CALVIN FULLER/FOLER: He had the right to give me bad grades. SAMANTHA: Uh, would you mind if I used your bathroom? CAL: Down the hall to the right. SAMANTHA: Great. JACK: (mumbles) You say you've been screwing around. What do you mean, exactly? CUE SOUND: (PRELAP) KNOCKING CUT TO: SCENE #19: [INT. FULLER RESIDENCE - TERI'S BEDROOM -- CONTINUOUS] (TERI sits in the middle of her bed and looks up when she hears the knocking at her door. The door opens and SAMANTHA peers into the room.) SAMANTHA: Hi. I'm Samantha Spade. I'm with the FBI. TERI FULLER/FOLER: Sam Spade -- like in the "Maltese Falcon"? SAMANTHA: Don't remind me. My mother was a big Bogart fan. I would've thought that movie was a little bit before your time. TERI FULLER/FOLER: We read all the Hammett books last year in English. SAMANTHA: Oh. Did you like them? TERI FULLER/FOLER: They're okay, most of them. SAMANTHA: What's your name? TERI FULLER/FOLER: Teri. (SAMANTHA steps up and takes a seat on the bed near TERI.) SAMANTHA: Do you want to tell me what's going on, Teri? (She shakes her head.) TERI FULLER/FOLER: (voice breaks) I can't. SAMANTHA: Why not? TERI FULLER/FOLER: Because I just can't. SAMANTHA: Who hit you? (Teri shakes her head.) We can protect you, Teri. TERI FULLER/FOLER: Yeah, right, I've heard that before. SAMANTHA: Not from an FBI Agent, you haven't. (TERI looks at SAMANTHA and takes a deep breath.) TERI FULLER/FOLER: It's my father. SAMANTHA: Why did he hit you? TERI FULLER/FOLER: Because I was there, and he was drunk. SAMANTHA: Did Mr. Abrams know about this? TERI FULLER/FOLER: Yeah. He saw me at school and came up to me. I barely even know the guy, but he really wanted to know what happened. I wouldn't tell him, but, like, I guess he knew about my dad because of Cal. SAMANTHA: Did he confront your father? TERI FULLER/FOLER: He came over here that same night. (Quick flashback to: [INT. FULLER/FOLER APARTMENT] JOSH and GARY FULLER argue in the living room near the doorway.) GARY FULLER/FOLER: It's none of your business. JOSH ABRAMS: I think it is. GARY FULLER/FOLER: Yeah, how's that? JOSH ABRAMS: Teri's in my school. She is my responsibility. GARY FULLER/FOLER: Yeah, is that right? JOSH ABRAMS: Yes, it is. (GARY nods a bit, then suddenly grabs JOSH by the shirt. TERI yells and steps forward to intervene.) TERI FULLER/FOLER: Dad! GARY FULLER/FOLER: What are you going to do about it, huh? Now, you stay away! (GARY throws JOSH to the floor, then jumps on top of him to keep him there. TERI and CALVIN yell and try to pull GARY off of JOSH.) CALVIN FULLER/FOLER: Dad, stop! TERI FULLER/FOLER: Dad, come on! JOSH ABRAMS: Get off! CALVIN FULLER/FOLER: Dad, stop! GARY FULLER/FOLER: What are you going to do about it?! TERI FULLER/FOLER: Dad! JOSH ABRAMS: Get off! (GARY stands up and off of JOSH who is on the floor and backs away from them.) GARY FULLER/FOLER: (to JOSH) Do you hear me? You stay away, or I'll kill you! (to TERI) Let go! (End of flashback. Resume to present.) TERI FULLER/FOLER: (crying) I don't-- I don't know how to say this ... but the night Mr. Abrams went missing, Cal and I were at home, and my dad didn't get in until real late. Now I'm afraid. SAMANTHA: You think he did something to Mr. Abrams. (TERI FULLER nods, puts her head down in her hand and cries.) FADE TO BLACK. (COMMERCIAL SET) FADE IN. [EXT. NEW YORK CITY (STOCK) - NIGHT] SCENE #20: [INT. THOMAS DEWEY HIGH SCHOOL - ASST. PRINCIPAL'S OFFICE -- NIGHT] (MARTIN opens the door and walks into the office.) MARTIN: You're working late. (WESMAR chuckles dryly.) STUART WESMAR: It's been a tough day. Any news about Josh? MARTIN: What do you know about Gary Foler? STUART WESMAR: I've met him. I know Josh was very worried about Cal. MARTIN: Yeah. Well, apparently he's been smacking Teri around. Josh went to confront him about it, and it got a bit ugly. STUART WESMAR: Teri? MARTIN: Mm. STUART WESMAR: (cautiously) Have you talked to her? MARTIN: Yes, we have. Police brought her father in on assault charges, and social services is watching her now. STUART WESMAR: Oh, man. (He sighs and sits down.) STUART: This is terrible of me, that I haven't told you before, but I was still hoping ... trying to protect Josh. MARTIN: Okay. STUART WESMAR: Josh has been a little off lately. He missed some faculty meetings. He was late with some evaluations. So I called him into my office last week. (Quick flashback to: JOSH and WESMAR talk in his office. JOSH is standing in front of the desk while WESMAR sits in the seat behind it.) STUART WESMAR: What is going on with you, Josh? JOSH ABRAMS: I'm in love. STUART WESMAR: Well, that's good news. JOSH ABRAMS: Not really. STUART WESMAR: (laughs) Why not? JOSH ABRAMS: 'Cause she's a student. (WESMAR stands up.) STUART WESMAR: Don't tell me you've acted on it. JOSH ABRAMS: No. No. STUART WESMAR: Who is she? JOSH ABRAMS: Come on, you know I can't tell you that. STUART WESMAR: You're a great teacher. Why jeopardize everything you've built here? JOSH ABRAMS: I don't know. I just can't get her out of my mind. My whole life, it's been about doing the right thing. But this ... just being around her is unbelievably exciting. Stu, I've never felt like this before. STUART WESMAR: (warns) You be careful, Josh. (End of flashback. Resume to present.) MARTIN: And you never reported this? STUART WESMAR: I didn't think there was anything to report. He hadn't acted on it. MARTIN: Any idea who she is? STUART WESMAR: Well, I started keeping my eyes open after that. At first, I thought it was Reilly Martin -- the girl you talked to earlier. But now ... MARTIN: ... But now you think it's Teri. (WESMAR nods.) CUT TO: SCENE #21: [INT. FULLER/FOLER RESIDENCE -- NIGHT] (SAMANTHA is back at the apartment and learns that TERI is missing.) SOCIAL SERVICES (WOMAN): Well, I-I don't know how she got out. I went to the bathroom for a few minutes, and-and she must've dashed out. SAMANTHA: Where's Cal? SOCIAL SERVICES (WOMAN): He's in his room. He's very upset. (SAMANTHA turns and heads for CALVIN'S room.) [CALVIN'S BEDROOM] (She pushes the bedroom door open and finds CALVIN sitting on the floor clutching a pillow, his back to the bed.) SAMANTHA: Where's Teri? CALVIN FULLER/FOLEY: (mumbles) I don't know. SAMANTHA: Did she say anything before she left? CALVIN FULLER/FOLEY: (mumbles) No. SAMANTHA: Cal! CALVIN FULLER/FOLEY: I don't know where she is, all right?! She's gone! (SAMANTHA looks around and sees the surveillance photos of JOSH and TERI out on the dresser top.) CAL FULLER/FOLEY: What do you want from me? (She walks over to them and looks through them. SAMANTHA turns around back to CALVIN.) SAMANTHA: Okay... Cal, how long has this been going on between Mr. Abrams and Teri? CALVIN FULLER/FOLEY: I don't know. A couple of months, I think. SAMANTHA: And you didn't take these pictures? CALVIN FULLER/FOLEY: No. SAMANTHA: Do you know who did? CALVIN FULLER/FOLEY: No. SAMANTHA: Did your father see these? Does he know about this? (CALVIN doesn't respond.) SAMANTHA: Cal, is this why he hit Teri? (He looks away for a moment.) CALVIN FULLER/FOLEY: I don't know. Probably. (SAMANTHA sighs ) SAMANTHA: All right, you're going to have to come to the office with me right now. Let's go. (CALVIN gets up to follow.) CUT TO: [EXT. NEW YORK CITY (STOCK) - NIGHT] LEGEND: 50 HOURS MISSING CUE SOUND: (PRELAP) PHONE RINGING SCENE #22: [INT. FBI - CONFERENCE ROOM -- NIGHT] (CALVIN is in the office and on the phone. SAMANTHA and MARTIN watch.) TERI FULLER/FOLEY: (on voicemail) It's Teri. You know what to do. (Over the phone, the phonemail system beeps.) CALVIN FULLER/FOLEY: (to phone) It's Cal I'm worried about you. Call me on my cell. (He hangs up and looks at SAMANTHA and MARTIN.) SAMANTHA: (to CALVIN) Every ten minutes, okay? (to MARTIN) She's got to call back sooner or later. MARTIN: Let's hope so. CUT TO: SCENE #23: [INT. FBI - BULLPEN -- DAY] (SAMANTHA and VIVIAN walk to the bullpen.) SAMANTHA: Look, the father found out about it, killed Abrams. She's scared, and now she's running. VIVIAN: Or she's running away to meet Josh and $100,000. SAMANTHA: I don't believe it. VIVIAN: Why, because that means she took us for fools? SAMANTHA: Okay, what about the boat? VIVIAN: Josh broke the oar locks himself, made it look as if he'd been killed. Give him a shot at a new life. SAMANTHA: What about her? VIVIAN: Well, if I'm right, she went voluntarily. SAMANTHA: She's 16, Viv. It's statutory rape, it is kidnapping, and he is a fugitive. VIVIAN: She's 17 in three weeks, and if she consented to go ... SAMANTHA: ... without her father's permission. VIVIAN: It's a hard case to make, Sam, and you know it. SAMANTHA: I don't think it's that hard. (DANNY turns around from his seat at his desk.) DANNY: We're back to Cal's father. A Ford Taurus was spotted outside the boathouse that morning. (SAMANTHA turns to look at VIVIAN.) SAMANTHA: She's scared. CUT TO: SCENE #24: [INT. FBI - INTERVIEW ROOM -- DAY] (JACK interviews GARY FULLER/FOLER in the interview room. He puts the picture of JOSH ABRAMS with TERI on the table in front of GARY.) GARY FULLER/FOLER: What's this? JACK: What do you think it is? We found thirty more just like it in Teri's room. GARY FULLER/FOLER: I've never seen this before. JACK: I think you have. I think that's why you hit Teri. GARY FULLER/FOLER: I swear to god, I've never hit Teri. JACK: Selective memory. [OBSERVATION ROOM] (SAMANTHA stands in front of the window watching the interview through the glass.) JACK: (over speaker) Okay, what about this? This guy, this teacher ... [INTERVIEW ROOM] JACK: sticking it to your daughter? And then he comes into your house, he tries to tell you what's what -- be enough to set you off, wouldn't it? GARY FULLER/FOLER: I didn't do anything to him. JACK: You threatened to kill him three days before he disappeared. GARY FULLER/FOLER: It was just talk. What would you do if some guy came into your home and told you how to be with your family? JACK: Where were you two nights ago? GARY FULLER/FOLER: Um ... I was at home, watching TV with the kids. JACK: Really? That's not what they say. They say you were out. Didn't come in until after two. GARY FULLER/FOLER: They're lying. JACK: Why would they do that? GARY FULLER/FOLER: I don't know. They're always bitching. JACK: Come on, Gary, your car was seen outside the Harlem River Boat Club the morning of the disappearance. GARY FULLER/FOLER: What're you talking about? JACK: Abrams' boat. You put it in the river. You broke the oars to make it look like an accident. GARY FULLER/FOLER: What boat? I have no idea what you're talking about! (He sighs.) GARY FULLER/FOLER: Look ... I'm not the world's best father, and I've got a problem with my temper when I drink. But I'm not a killer. CUT TO: SCENE #25: [INT. FBI - BULLPEN -- DAY] (MARTIN walks into the bullpen holding a piece of paper. He heads for DANNY'S desk.) MARTIN: Okay, I found a little wrinkle. Stuart Wesmar, our cooperative assistant principal, friend and mentor of Josh -- he filed an internal conduct report on Teri Foler six months ago. DANNY: Wait, wait, I thought he said he barely knew her. MARTIN: Yeah. And, according to this report, she propositioned him sexually in order to get a grade change. She was transferred out of his class, and no action was taken. DANNY: I think you're going to like this, Martin. Somebody from the school called Teri on her cell phone six times over the last two days. Had to be Wesmar. MARTIN: The son of a bitch has been lying to us ... DANNY: Yep. MARTIN: ... since minute one. (They both stand up.) FADE TO BLACK. (COMMERCIAL SET) FADE IN. SCENE #26: [INT. FBI - INTERVIEW ROOM -- DAY] (DANNY and MARTIN re-interview STUART WESMAR.) STUART WESMAR: Okay, I was calling her because after Josh disappeared, I thought she might know something. MARTIN: And you somehow failed to mention that to me before? STUART WESMAR: I called lots of students that day. DANNY: Come on, Mr. Wesmar. You really didn't think we were going to find this report? STUART WESMAR: I don't recall this incident. DANNY: 'Cause teenage girls hit on you every day and ... STUART WESMAR: I didn't say that. (MARTIN puts the surveillance photos out on the table in front of WESMAR.) MARTIN: Do you, uh ... do you recognize these? Huh? (points to the people in the photos) Let's see ... that-that's Josh, that's Teri. Mm-hmm ... very intimate poses. Telephoto lens. Danny: We know you took those, Stuart. STUART: That's crazy. MARTIN: That's crazy? DANNY: That's crazy. (MARTIN takes a seat opposite WESMAR.) MARTIN: That's crazy. Okay. Fine. You don't want to tell us, we'll tell you. MARTIN: It all started when Teri made a pass at you. Oh, you know, this girl's sexy, but, uh, (Quick flashback to: TERI FULLER/FOLER is smiling up at someone.) MARTIN: (v.o.) She's not for me. (End of flashback. Resume to present.) MARTIN: So that's when you came up with this harebrained idea. You knew how desperate Teri was to get away from her father, so you went to her with a plan to help her do just that. Yeah. (Quick flashback to: In the Asst. Principal's office, TERI and WESMAR talk intimately.) MARTIN: (v.o.) All she had to do was set her sights on Josh, because he was the perfect mark, right? (End of flashback. Resume to present.) MARTIN: Repressed mama's boy. Never been in love. (Quick flashback to: TERI and JOSH are very close to each other. TERI smiles up at JOSH, her hand on his cheek.) MARTIN: (v.o.) And you would know this, because you were his ... friend. (End of flashback. Resume to present.) MARTIN: And if anybody needed a little passion, it was him, ... you just take your sweet little pictures here, and at the right moment ... you drop them on Josh, and then you get yourself a little bankroll. And then you and Teri split the money. DANNY: I think you're on the right track. MARTIN: Damn right. STUART WESMAR: Okay, look, it wasn't like I forced her. You know? She was into the idea. (Quick flashback to: TERI FULLER/FOLER is in WESMAR'S office discussing the plan) TERI FULLER/FOLER: How much can we get? STUART WESMAR: Are you kidding? The guy made millions when he got out of that internet company. He'd probably drop a couple hundred grand easy just to keep us quiet. TERI FULLER/FOLER: Well, what if he doesn't go for it? Well, for me, I mean. STUART WESMAR: Oh, come on. I've seen your intro. It's very convincing. TERI FULLER/FOLER: (shakes her head) No. I-I don't know. I mean, Mr. Abrams is a really good guy, you know? STUART WESMAR: Doesn't that make it easier? TERI FULLER/FOLER: Shut up. STUART WESMAR: Teri, $100,000 would make a very nice start for you somewhere. We might even get more. TERI FULLER/FOLER: He is pretty cute, isn't he? (He chuckles.) (End of flashback. Resume to present.) DANNY: It seemed like a good plan. What went wrong? STUART WESMAR: (shakes his head) I don't know. She kept saying, "We should get more explicit photos. We could get more money out of him that way." Then Josh disappears. Teri says she doesn't know where he went or why, and now she's gone. She totally shafted me. (DANNY holds out in front of WESMAR.) DANNY: He was your friend. Why would you do this to him, hmm? Hmm? Why? STUART WESMAR: Walks around the school like a damn Mother Teresa, thinking he's going to change everyone's lives. Everybody's hero, and there I am. Eighteen years in, and never get higher than assistant principal making $61,000 a year. I just wanted to get something back for myself. MARTIN: Where are they, Mr. Wesmar, hmm? STUART WESMAR: I swear to god, the thing got out of my hands. I have no idea where either of them are. CUT TO: SCENE #27: [INT. FBI -- HALLWAY] (MARTIN and DANNY discuss the case.) MARTIN: Maybe her father was telling the truth. Maybe she was the one who drove the car up to the boathouse. DANNY: And broke the oar locks by herself? No way. MARTIN: Yeah. With Wesmar's help. DANNY: He wants to keep his bee clean, trust me. He does not want to get involved with anything ... MARTIN: ... somebody must have helped her carry that boat. (DANNY sighs and thinks about it.) DANNY: How about the brother? MARTIN: Did we get any prints off the boat? DANNY: No. It was clean. (Something occurs to MARTIN.) MARTIN: You know, I'm not so sure. CUT TO: SCENE #28: [INT. FBI -- CONFERENCE ROOM] (An AGENT takes CALVIN FULLER/FOLER'S fingerprints. When he finishes he packs up his things and leaves the room.) SAMANTHA: We won't have the results back for a few minutes. Sit down. (CALVIN lingers.) JACK: Sit down! Sit! (CALVIN sits down.) SAMANTHA: Go how, don't we, Cal? They'll match the prints on his boat. CALVIN FULLER/FOLER: Look, I didn't do anything. JACK: Right. Dedicated teacher gets killed by a student he's trying to help. How old are you, Cal? What? 18? Huh? 18? Right? That's murder one. Makes you a classic candidate for a lethal injection. SAMANTHA: Don't try to protect Teri. She's gone. She's not protecting you. (CALVIN hesitates a moment.) (Quick flashback to: CALVIN looks through the photos. TERI walks into the room.) TERI FULLER/FOLER: Cal, what are you ... ? (CALVIN whirls around and backhands her on her cheek. She goes down.) CALVIN FULLER/FOLER: You slut! What are these? TERI FULLER/FOLER: No! Don't freak out, okay? I know what I'm doing! CALVIN FULLER/FOLER: Are you sleeping with him? TERI FULLER/FOLER: No. No. It's not what you think. I-I'm doing it for us. CALVIN FULLER/FOLER: Oh, yeah, right, for us. TERI FULLER/FOLER: Cal, cal, you know how rich he is. He's not going to want these to get around. CALVIN FULLER/FOLER: What are you talking about? TERI FULLER/FOLER: Just think about it, Cal. We'll be able to get away. (End of flashback. Resume to present.) SAMANTHA: So you were the one who gave her the black eye, not your father. CALVIN FULLER/FOLER: Yeah. SAMANTHA: And what was The Plan? CALVIN FULLER/FOLER: She was going to show him the pictures and get the money, but he beat her to the punch. (Quick flashback to: TERI and CALVIN talk about the plan.) TERI FULLER/FOLER: Out of the blue, he says he wants to run off. CALVIN FULLER/FOLER: Why? TERI FULLER/FOLER: He wants to protect me from dad. He already took out a hundred grand in cash. Look, I don't get it. First thing tomorrow, he's taking off. I'll wait a couple of days, then I'll go meet him. I'll take the money ... and you'll be waiting for me outside the motel. CALVIN FULLER/FOLER: The motel. Where? TERI FULLER/FOLER: I don't ... I don't know yet. He's going to call me once he gets settled. CALVIN FULLER/FOLER: Okay. (End of flashback. Resume to present.) CALVIN FULLER/FOLER: Look, she told me to go down to the boathouse and do that crap to his boat. She said it'd give us more lead time. Distract everyone. (JACK looks at CALVIN.) JACK: You ever watch double indemnity? (CALVIN shakes his head.) You ought to. You got played. CALVIN FULLER/FOLEY: I guess so. CUT TO: [EXT. NEW YORK CITY (STOCK) - NIGHT] SCENE #29: [INT. FBI - HALLWAY/CONFERENCE ROOM -- NIGHT] (VIVIAN and SMANATHA just outside the conference room while the TECHNICIAN works with CALVIN inside.) VIVIAN: Sounds like she had everyone wrapped around her little finger. SAMANTHA: Come on, Viv. You've seen the family. She's just trying to survive. VIVIAN: Yeah, well, she got her meal ticket now. SAMANTHA: Yeah, and he got his "Victory for Humanity". (Inside the room, the TECHNICIAN motions to both of them to come inside. VIVIAN and SAMANTHA enter the room. [CONFERENCE ROOM] (The telephone rings.) SAMANTHA: (to CALVIN) Okay, I want you to speak slowly and don't say anything to alarm her. You got it? Okay, go ahead. (CALVIN answers the phone.) CALVIN FULLER/FOLEY: (to phone) Hello. INTERCUT WITH: [EXT. UNDISCLOSED LOCATION -- NIGHT] TERI FULLER/FOLEY: Hi, Cal. (The computer monitor tracking the phone call shows: "CONNECTING".) CALVIN FULLER/FOLEY: Where are you? TERI FULLER/FOLEY: (to phone) I can't say. CALVIN FULLER/FOLEY: Well, are you okay? TERI FULLER/FOLEY: I'm fine. I'm-I'm good. CALVIN FULLER/FOLEY: Are you with him? TERI FULLER/FOLEY: Yeah. (The computer monitor shows a location in "ALBANY".) CALVIN FULLER/FOLEY: Teri, what are you doing? TERI FULLER/FOLEY: (shakes her head.) I'm sorry. I've got to go, okay? (The computer zooms in to an area near the State Capitol.) CALVIN FULLER/FOLEY: What? (sighs) So, are you going with him? TERI FULLER/FOLEY: I'm getting rid of this phone now, so don't try to call me again, okay? (SAMANTHA turns to look at the map. They haven't located her yet.) TERI FULLER/FOLER: (voice breaks) Take care of yourself, okay, Cal? (After a moment, TERI hangs up.) (VIVIAN turns to look at the map.) VIVIAN: Albany. (SAM Sighs ) CUT TO: SCENE #30: [INT. FBI -- JACK'S OFFICE - NIGHT] (SAMANTHA reports back to JACK as he does some paperwork.) SAMANTHA: We've got it narrowed down to a three-mile radius. Traffic noise tells us it's near a highway. Eleven o'clock at night. My guess is, she's outside of a motel. JACK: We'll send in the locals. SAMANTHA: Jack, this is a kidnapping. JACK: She'll be 17 in three weeks. It's a technicality. SAMANTHA: This girl is damaged, okay? And she is being taken advantage of. JACK: Look, the life she's leaving behind isn't much better with that father and that brother. What do you want to do, put her in a foster home? (SAMANTHA looks at JACK.) SAMANTHA: (softly) She's just a kid. CUT TO: [EXT. NEW YORK CITY (STOCK) - NIGHT] SCENE #31: [EXT. EL ROYALE MOTEL - NIGHT] (OFFICER cars pull up outside the EL ROYALE MOTEL, their lights flashing. JACK and SAMANTHA get out of their car.) JACK: Apparently, there's no activity in the room. SAMANTHA: Okay. [CLOSE UP: DOOR KNOB] (JACK uses the key and opens the door to room #15. He pushes the door open and steps inside.) JACK: Okay, cover the bathroom. SAMANTHA: Okay. (On the bed in his underwear is the missing JOSH ABRAMS.) SAMANTHA: Bathroom's clear. (JACK checks JOSH for a pulse.) JACK: He's out, but he's okay. SAMANTHA: So where's Teri? SHORT TIME CUT TO: SCENE #32: [INT. EL ROYALE MOTEL - NIGHT] (JOSH is awake with his head bowed in his hands. He sits on the bed and explains what happened.) JOSH ABRAMS: She showed up tonight. We popped a bottle of champagne. I was so happy. Then all of a sudden, the room started spinning, and the last thing I saw was she took off with the duffel bag. Had all my money in it. We were going to escape. SAMANTHA: You're a teacher. She's sixteen. JOSH ABRAMS: No, no, you don't get it. It wasn't my idea. It was all her. (Quick flashback to: JOSH and TERI kiss.) TERI FULLER/FOLEY: So you got the money? JOSH ABRAMS: Yeah. Right here. (JOSH pulls the duffle bag out from behind him to show it to her. She looks into the bag and touches the money lightly.) TERI FULLER/FOLEY: (smiles) Wow. JOSH ABRAMS: This is crazy. Are you sure you still want to do this? (TERI looks up at JOSH and kisses him.) TERI FULLER/FOLEY: What do you think? JOSH ABRAMS: (smiles) You're so bad. TERI FULLER/FOLEY: I'm telling you, it's going to be great. (He leans in to kiss her again when a knock at the door sounds. They both look toward the door. It's CARMEN DANIELS.) CARMEN DANIELS: (through door) Josh? TERI FULLER/FOLEY: Who is that? JOSH ABRAMS: Uh-huh ... stay here. I'll-I'll be right back. (TERI looks back down at the money in the bag.) (End of flashback. Resume to present.) JOSH ABRAMS: She played me. (laughs and realizes) She totally played me. JACK: I'll get you a kleenex, you dope. JOSH ABRAMS: No, you don't understand. I would never, um ... I loved her. SAMANTHA: Where were you going to go? JOSH ABRAMS: Up to Canada. SAMANTHA: I'll call customs and the RCMP. (SAMANTHA heads out leaving JACK standing there looking at JOSH.) CUT TO: SCENE #33: [EXT. EL ROYALE MOTEL - NIGHT] (SAMANTHA and JACK leads JOSH ABRAMS in handcuffs out of the motel.) LYRICS: ["You Only Disappear", Tom McRae] Close my eyes I'm moving still / magazines and dollar bills / And you wake up still ... (JACK opens the door and they put JOSH into the back of the officer car. They drive off) CUT TO: [EXT. NEW YORK CITY (STOCK) - NIGHT] SCENE #34: [INT. FBI - HALLWAY / JACK'S OFFICE - NIGHT] (SAMANTHA and JACK head back to JACK'S office. JACK stands behind his desk while SAMANTHA takes a seat.) SAMANTHA: We're not going to find her, are we? JACK: Canadian border's too hard to cover. SAMANTHA: Yeah. Pretty sophisticated plan, though. JACK: She read Hammett, right? SAMANTHA: Yeah. Femme Fatale. JACK: Yeah. SAMANTHA: I ran away when I was her age. JACK: I'm not surprised. How far did you get? SAMANTHA: My mom tracked me down at the bus station the next town over. JACK: Did you catch hell? SAMANTHA: I remember when I saw her ... just having someone look for me, that was enough to keep me from trying it again. JACK: It's a good thing. (SAM looks up at JACK. Their look holds.) SAMANTHA: (quietly) Yeah. (For a moment, they look at each other. JACK looks away.) JACK: I got to, uh, pack up. LYRICS: I can live with my regrets .. SAMANTHA: All right. Me, too. JACK: Good night. SAMANTHA: Good night. (SAMANTHA stands up and leaves the office.) LYRICS: still raise a smile and raise my head ... CUT TO: SCENE #35: [INT. FBI - BULLPEN - NIGHT -- CONTINUOUS] (SAMANTHA walks over to the conference table and picks up a colored photo of TERI FULLER/FOLER. She heads over to the WHITEBOARD where she removes the photo of JOSH ABRAMS. She puts the photo of TERI FULLER/FOLER up.) LYRICS: ... and a stranger god can be so cruel / and a holy fool is still a fool / but this is all I can say I have lost my way / but you only, but you only disappear ... (SAMANTHA turns and heads back to her desk.) FADE OUT. ======================== THE END ======================== Note: The closed-captioning has indicated both "Fuller" and "Foler" inside. Proper names. Gotta love 'em. [Captioning sponsored by CBS and Warner Bros. Television Captioned by Media Access Group at WGBH access.Wgbh.Org] Courtesy of http://www.webphilia.com/~anthology/wnp.html Contact the Transcriptionist at (intrepidly002@yahoo.com) Please do not archive this transcript without permission from the Transcriptionist. ======================== BEGINNING/TITLE CREDITS ======================== WITHOUT A TRACE 1X19: VICTORY FOR HUMANITY ORIGINAL AIR DATE ON CBS: 04/10/2003 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 Starring CHRISTOPHER GORHAM as Josh Abrams CHRISTINE HEALY as Teri Fuller/Foler (?) MICHAEL EMERSON as Stuart Wesmar ROBERT JOY as Mr. Abrams MIMI MICHAELS as Mrs. Abrams TOMMY HINKLEY as Gary Fuller/Foler (?) JEFF DACOSTINO as Cal Fuller/Foler (?) MICHAEL SAUCEDO as Mace Williams (Drug Dealer) MAILON RIVERA as Blue Panda Producer: PAUL HOLAHAN Producer: JAN NASH Producer: GREG WALKER Produced by: SCOTT WHITE Co-executive Producer: JACOB EPSTEIN Executive Producer: HANK STEINBERG Executive Producer: JONATHAN LITTMAN Executive Producer: ED REDLICH Teleplay by: HANK STEINBERG Story by: JAN NASH & GREG WALKER Directed by: CHARLES CORRELL ======================== 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: WENDY BLEDSOE Casting by: GARRY M. ZUCKERBROD, C.S.A. Casting by RONNA KRESS, C.S.A. and TRACY KAPLAN, C.S.A. Co-Starring SARAH SIDO as Carmen (Daniels) BRENTON SCHRAFF as Rich Co-Starring EDITH FIELDS as Social Worker ASHLEIGH ANN WOOD as Riley (Reilly Martin) Technical Advisor: MARK LLEWELLYN Set Decorator: JEANNIE GUNN, S.D.S.A. Property Master: JOHN HARRINGTON Costume Designer: ANE CRABTREE Costume Supervisor: SUE BUB Make-up Artist: TINA ROESLER KERWIN Hairstylist: STEPHEN A. ELSBREE Production Sound Mixer: JAY PATTERSON, C.A.S. Script Coordinator: DAVID MONGAN Production Coordinator: BRETT CRAWFORD Supervising Sound Editor: VICTOR IORILLO Music Supervisor: JASON ALEXANDER Music Editor: DAN RAZIEL Re-recording Mixers: YURI REESE / BILL SMITH Film Processing by FOTOKEM Main Title Design by SKIP FILM Visual Effects by CREO cbs.com FBI Technical Advisor: DENNIS BONELLI The producers wish to thank the New York office of the FBI for their help and cooperation. The characters and events depicted in this motion picture are fictional. Any similarity to any actual person, living or dead, or to any actual events, firms, and institutions or other entities, is coincidental and unintentional. This motion picture is protected under the Laws of the United States and other countries, and its unauthorized duplication, distribution or exhibition may result in civil liability and criminal prosecution. Copyright 2003 Warner Bros. Television. All Rights Reserved Country of first publication United States of America Warner Bros. Television is the author of this film/motion picture for the purpose of Article 15 (2) of the Berne Convention and all national laws giving effect therein. Dated:07/18/2003~lky http://www.webphilia.com/~anthology/wnp.html