Episodes

02.01 - The Bus --- Transcript

WITHOUT A TRACE
2X01: THE BUS
ORIGINAL AIR DATE ON CBS: 09/25/2003
TRANSCRIBED FROM CBS

Written by: HANK STEINBERG
Directed by: PAUL HOLAHAN

Transcript by Intrepid
Courtesy of http://webphilia.com/~anthology/wnp.html

Do not archive this transcript without permission from the Transcriptionist.

RATING: TV-PG
HDTV
==========================
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==========================
SUMMARY: A busload of high school students vanishes on its way to school.
==========================
WITHOUT A TRACE
2X01: THE BUS
==========================



FADE IN.

[EXT. NEW YORK COMMUNITY - DAY]

LYRICS:
["Mad World", sung by Gary Jules"]
All around me are familiar faces / worn-out places, worn-out faces ...

CUT TO:



[EXT. STREET - DAY]

(Close up of the side of a yellow school bus as it travels along the street.)

(Cut to: MRS. ATKINS walks her son JOHNNY across the front lawn toward the
street.)

JOHNNY ATKINS: You don't have to wait with me, mom.

MRS. ATKINS: Don't worry. When the bus comes, I'll scoot inside the house;
none of your friends will see me.

JOHNNY ATKINS: What friends?

(JOHNNY turns away and looks down the street as he waits for the bus to arrive.)

MRS. ATKINS: Oh, come on, now.

LYRICS:
Bright and early for the daily races / going nowhere / going nowhere / their tears are filling up their glasses ...

(She reaches up and fixes his shirt collar.)

MRS. ATKINS: This is going to be your year, Johnny. I can feel it.

LYRICS:
No expression / No expression / and I find it kind of funny / I find it kind of sad ...

JOHNNY ATKINS: Yeah, well, the bus is coming.

MRS. ATKINS: see you later.

LYRICS:
... the dreams in which I'm dying are the best I've ever had / I find it hard to tell you / I find it hard to take / when people run in circles it's a very, very mad world ...

(JOHNNY steps out on the street to wait for the bus. The bus pulls to the side, stops and its doors open. JOHNN walks onto the bus.)

(MRS. ATKINS watches him enter the bus, then she turns and walks back into the house.)

(Cut to: [Inside the bus] The kids sit inside the bus.)

(Cut to: [EXT. ROAD] As the bus travels down the street, it vanishes.)

CUT TO:



[EXT. SIDEWALK OUTSIDE R. THOMAS DAY SCHOOL -- DAY]

(JACK walks HANNAH and KATE to school. KATE holds on to JACK'S hand while HANNAH walks next to her.)

JACK: (encouraging) Look, it'll be great. It'll be all the same kids as last year.

KATE: But I don't like all of them.

JACK: That's all right, sweetheart. Just play with the kids that you like and ignore the other ones. Right, Hannah?

HANNAH: Right.

JACK: Now, there's Mrs. Subble. She's going to take you into the classroom. Okay?

KATE: You're not coming in with us?

JACK: No, sweetheart, I got to go to work.

KATE: Will you pick us up later?

JACK: No. Mommy's going to do that but I'll be at dinner tonight, okay?

HANNAH: If mom lets you.

JACK: I'll be there; I'm back, all right?

(JACK'S cell phone rings.)

JACK: It's not a day-to-day thing.

HANNAH: Come on, Kate.

(HANNAH and KATE turns to head in to the building.)

JACK: (arms wide open) Hey, forgetting something?

HANNAH: (turns around) How about lunch money?

JACK: I know for a fact that your mother gave you lunch money, you little thief. Get in there.

HANNAH: Bye, dad.

(HANNAH turns and enters the building. JACK answers the phone.)

JACK: (to phone) Yeah, what's going on?

INTERCUT WITH:

[INT. FBI - BULLPEN - DAY]

(VIVIAN is on the phone behind her desk.)

VIVIAN: Where are you?

JACK: Dropping the kids off at school. What's up?

VIVIAN: A school bus went missing in Armonk.

JACK: A bus?

(JACK turns and sees KATE watching him, listening.)

VIVIAN: Uh-huh. It was headed to the high school, never made it, nobody's seen
it.

JACK: How many kids?

VIVIAN: At least ten. We're headed over there now.

(VIVIAN walks out of camera frame.)

JACK: All right, I'm on my way.

(JACK waves to KATE.)

JACK: Bye, Sweetie.

KATE: (waves) Bye, dad.

(JACK watches her as she goes inside.)

JACK: Be good.

(JACK turns to leave.)

FADE INTO
END OF TEASER
ROLL TITLE CREDITS.

(COMMERCIAL SET)



FADE IN.

[EXT. NEW YORK CITY BRIDGE (STOCK) -- DAY]

[EXT. HIGH SCHOOL - DAY]



[INT. HIGH SCHOOL -- HALLWAY - DAY]

(JACK and SAMANTHA walk through the hallway as she fills him in on what's going
on.)

JACK: Do we have an accurate head count?

SAMANTHA: Thirteen kids, aged 12 to 16.

JACK: How many of them had cell phones?

SAMANTHA: Eight, two blackberries. All the parents tried to make contact.
We're assuming the kidnappers confiscated them.

JACK: What about the bus driver?

SAMANTHA: Bus driver Bernard ... Griffin, 42, african american, divorced, no
record. We're running a full background check, and I'm headed over to the bus
barn.

JACK: Okay, I want you to take Martin with you.

SAMANTHA: No, Jack, I can do this on my own.

JACK: Yes, I know. I want you to take him anyway. And what else?

SAMANTHA: Local P.D. and F.D. are forming search parties. We've got road
blocks at every major artery and a dozen choppers in the air. We've also
grounded all the other school busses in the county. If they're still on the
road somewhere, we want to make sure they stand out.

JACK: You know what? It's been three hours since that bus has gone missing.
They could be 200 miles away by now. I want you to contact the defense
department, see if we can use their surveillance satellite, okay?

(JACK turns and leaves.)

CUT TO:



[INT. HIGH SCHOOL -- CLASSROOM -- DAY]

(The classroom is crowded with various people being interviewed. DANNY
interviews JOHNNY'S mother, MRS. ATKINS.)

DANNY: Did you see which way the bus turned when it got to the corner?

MRS. ATKINS: No. I'd already ... I'd already gone inside.

DANNY: According to our head count, Johnny was the last student to get on the
bus.

MRS. ATKINS: Meaning what?

DANNY: Meaning that the bus must have made a detour when it got to Preston
drive, otherwise the kids at the next stop, well, they would have seen the bus
coming.

MRS. ATKINS: (crying) Oh, my god, I can't believe what we're talking about.
I'm sorry.

DANNY: No, no, that's fine. Mrs. Atkins, you mentioned that Johnny isn't well-
adjusted. What exactly did you mean by that?

MRS. ATKINS: It's nothing serious; he's not a troublemaker or anything, it's
just ... it's high school, and it's very click-y, and, you know ... if you don't
have the best video games or a pool for parties or ... I don't know, a cool dad
to take you and your friends to the Knicks games, it's just ... not necessarily
the easiest place for a teenage boy to grow up, you know?

DANNY: I got it.

(In the back of the room, the Principal walks in carrying an armful of files.
She calls out to VIVIAN.)

MRS. SUAREZ (PRINCIPAL): Agent Johnson?

VIVIAN: (to whomever she's talking to) Excuse me one moment.

(VIVIAN stands up to meet with the PRINCIPAL out in the hallway.)

MRS. SUAREZ (PRINCIPAL): Here are all the files you asked for.

[HALLWAY]

VIVIAN: Is there anything in there that I should keep an eye on? I mean, have
you had trouble with any of the students?

MRS. SUAREZ (PRINCIPAL): You'll find a file in here on Doug and Richard Carrol.
They were both suspended for the final week of school at the end of last year.

VIVIAN: What for?

MRS. SUAREZ (PRINCIPAL): They set off a few smoke bombs in the halls. The fire
alarms went off; we had to evacuate everyone.

VIVIAN: And how did they react when you suspended them?

MRS. SUAREZ (PRINCIPAL): Well, Richard doesn't say much, but Doug was pretty
aggravated.

(Quick flashback to: The PRINCIPAL escorts DOUG and RICHARD CARROL out through
the hallway.)

DOUG CARROL: A week!

MRS. SUAREZ (PRINCIPAL): There's only a week left of school, Doug. You're
lucky about that or it would be longer.

DOUG CARROL: It should be longer.

MRS. SUAREZ (PRINCIPAL): Excuse me?

DOUG CARROL: Given what we did, I mean, you should have seen the look on those
girl's faces.

MRS. SUAREZ (PRINCIPAL): If you don't want to be at school, that's something we
should talk about with your father.

DOUG CARROL: Whatever you have to do, Mrs. Suarez.

(End of flashback. Resume to present.)

VIVIAN: And you discussed this with their parents?

MRS. SUAREZ (PRINCIPAL): Their father. Their mother died four years ago.

VIVIAN: And?

MRS. SUAREZ (PRINCIPAL): Mr. Carrol said he would handle it at home.

VIVIAN: And you left it at that?

MRS. SUAREZ (PRINCIPAL): There was nothing in their actions that told me they
were violent. (a little defensive) There are two ways to be a school principle
now. You can be an alarmist, or you can try to deal specifically with each
child. I choose the latter.

(VIVIAN looks back at the classroom.)

VIVIAN: Is Mr. Carrol in there now?

MRS. SUAREZ (PRINCIPAL): No. I haven't seen him.

CUT TO:



[EXT. NEW YORK GOLF COURSE (STOCK) - DAY]



[EXT. CARROL RESIDENCE - FRONT PORCH -- DAY]

(JACK and VIVIAN are speaking with BOB CARROL.)

BOB CARROL: You want to search my home?

JACK: Well, if your sons are involved in this somehow, we want to know what
they were doing.

BOB CARROL: My sons are not involved.

VIVIAN: Then there's no harm in us searching their rooms.

BOB CARROL: No. I think you should spend your time and your resources in a
more effective way.

(BOB CARROL shuts the door.)

JACK: Everybody's an expert.

(They turn and walk away.)

VIVIAN: I bet he's searching their rooms as we speak.

JACK: Yeah, I bet.

CUT TO:



WHITEBOARD TIMELINE:
3MBD - DOUG AND RICHARD CARROL "BOMB" SCHOOL



[EXT. BUS BARN -- DAY]

LEGEND: 2.5 HOURS MISSING

(MARTIN gets out of the car. He turns around and calls out.)

MARTIN: Are you coming?

SAMANTHA: Hold your horses.

(SAMANTHA slowly gets out of the car.)

MARTIN: Physical therapy going pretty well, huh?

(She shuts the car door her hand resting lightly on her thigh.)

SAMANTHA: Do yourself a favor, don't get shot, it's not all it's cracked up to
be.

MARTIN: I'll try my best.

(They head toward the main office.)

CUT TO:



[INT. BUS BARN - MAIN OFFICE - DAY -- CONTINUOUS]

(MARTIN and SAMANTHA interview the Bus Barn MANAGER in regard to the bus
driver.)

MARTIN: How long has Mr. Griffith been driving for you?

BUS BARN MANAGER: Ah, about two years.

MARTIN: Any behavioral problems?

BUS BARN MANAGER: Nope.

SAMANTHA: Temper?

BUS BARN MANAGER: Not that I ever saw.

MARTIN: Financial troubles, problems with a girlfriend?

BUS BARN MANAGER: We never talked about it.

SAMANTHA: And this morning?

BUS BARN MANAGER: Nothing much unusual. He came in about 6:30, we went through
our usual routine.

(Quick flashback to: That morning, BERNARD GRIFFITH shows up and signs in.)

BUS BARN MANAGER: Hey, another day, another dollar, Hey, Bernard?

BERNARD GRIFFITH: (signs in) Another day another thousand dollars with these
kids.

(They both laugh.)

BUS BARN MANAGER: See you at 5:00.

BERNARD GRIFFITH: God willing.

(End of flashback. Resume to present.)

MARTIN: So that comment he made about the kids having money, you think he's
resentful about that?

BUS BARN MANAGER: Sure, he's resentful. I'm resentful, too. It doesn't mean
I'm going to kidnap a bus full of them.

SAMANTHA: He said god willing, he'd see you back here at 5:00. Why would he
say that?

BUS BARN MANAGER: It's called an expression. Hey, I got to tell you, you guys
are barking up the wrong tree. You ought to be looking at those kids.

(MARTIN looks at SAMANTHA.)

CUT TO:



[INT. HIGH SCHOOL - CLASSROOM -- DAY]

(Camera opens on various photos of the missing kids. VIVIAN has them spread out
on the table in front of her. She studies the photos. She picks up the photo
of JOHNNY ATKINS.)

(A cell phone rings.)

LAURA RANDALL: Oh, my god! Oh, my god, it's her, it's my daughter! She's
sending me a message.

(LAURA RANDALL holds up the phone and shows the picture on the display. VIVIAN
looks up and sees the image of a pair of sandaled feet.)

CUT TO:



[INT. FBI - COMPUTER ROOM -- DAY]

(Open on the images and sounds "sent". The TECHNICIAN works on the message
while JACK, VIVIAN and the girl's MOTHER stands behind and watches.)

TECHNICIAN: There's a lot of static, a lot of rustling around.

(The final image is of the sandaled shoe.)

LAURA RANDALL: That's my daughter's shoe.

JACK: Are you sure?

LAURA RANDALL: (very certain) Yes.

TECHNICIAN: Then here's the only voice.

KIDNAPPER (MAN): (from message) (garbled) ... Did you hear me?

TECHNICIAN: The voice is too far away to isolate it.

VIVIAN: Can we get rid some of that echo?

TECHNICIAN: Not with the way it was transmitted.

LAURA RANDALL: Can't we send her a message of some kind?

JACK: Not without risking the phone ringing, giving her away.

(They replay the image again.)

KIDNAPPER (MAN): (from message) (garbled) ... Did you hear me?

(LAURA RANDALL appears distraught. JACK watches her and tries to help.)

JACK: Is your daughter a fighter?

LAURA RANDALL: Oh, since the day she was born.

JACK: Then chances are she'll call us again when she can.

LAURA RANDALL: Can I wait here, then?

(VIVIAN stops and glances sideways at JACK. JACK also seems hesitant, but
allows it anyway.)

JACK: Sure, but you'll have to wait in the reception.

(LAURA RANDALL leaves the room.)

VIVIAN: There are no bus seats.

JACK: I don't think they're on the bus anymore.

(JACK looks at the video and thinks about it more.)

JACK: The way they're all huddled together like that, they're in some kind of
enclosed space.

(Camera holds on the video.)

CUT TO:



[INT. HIGH SCHOOL - CLASSROOM -- DAY]

LEGEND: 5 HOURS MISSING

(MRS. SUAREZ, the PRINCIPAL, walks into the classroom with a grim look on her
face.)

MRS. SUAREZ (PRINCIPAL): Agent Taylor, I just got an anonymous phone call from
someone who claims to know where the bus is.

DANNY: Thank you, Mrs. Suarez.

(DANNY stands up and follows her out.)

CUT TO:



[EXT. ROAD -- DAY]

(POLICE cars with their sirens on rush down the roadway. They stop directly in
front of the bus.)

(DANNY gets out of the car as do the other officers.)

DANNY: (to radio) Got a positive on the bus.

(He heads for the bus' front door and pries it open. He climbs inside.)

DANNY: Hello? Is anybody in here?

(As he walks down the aisle, he sees the legs of a child left behind.)

DANNY: I got one! I got one! (to the kid) Hey! Are you all right?

JOHNNY ATKINS: Help! Please! Help!

(DANNY grabs the child and sits him up. His head is covered and the boy cries
for help.)

DANNY: Are you all right?

(DANNY takes the hood off of JOHNNY'S head.)

DANNY: Shh-shh! It's okay. You're going to be okay. I'm with the FBI. You're
going to be okay.

JOHNNY ATKINS: (relieved) Okay.

DANNY: What's your name, huh?

JOHNNY ATKINS: Johnny.

DANNY: Where are the others?

JOHNNY ATKINS: I don't know.

(DANNY takes a knife and cuts the tape off from around JOHNNY'S wrists. He
groans.)

DANNY: How long ago did they leave you here?

JOHNNY ATKINS: (he starts crying) I don't know. Maybe like an hour.

DANNY: (nods) Okay.

JOHNNY ATKINS: They ... they said they wanted five million dollars.

DANNY: Good. Five million dollars?

JOHNNY ATKINS: In cash.

DANNY: Good. Did they tell you how we could get it to them?

JOHNNY ATKINS: They said Monroe Park by the fountain.

DANNY: When?

JOHNNY ATKINS: Tomorrow morning at 10:00.

DANNY: Good. Now, you sure?

JOHNNY ATKINS: I'm positive, 'cause they said that or they're going to kill
everybody.

DANNY: When you say "they," could you give me a description?

JOHNNY ATKINS: Doug and Richard Carrol.

DANNY: Are you sure?

JOHNNY ATKINS: I'm positive.

DANNY: (nods) Good.

DISSOLVE TO:



WHITEBOARD TIMELINE:

(The camera slowly pans along the line of kids photos on the whiteboard, from
the right to the left: KRISTA SCHREIBER, SYLVIA GLASS, JOHNNY ATKINS,.POLLY
STEVENS, JOE NORMAN, ... )

(Dissolve to: Camera moves from the right to the left: TRISH RANDALL, ALEX
WHITE, RYAN JONES, ... )

(Dissolve to: Camera holds on the pictures of DOUG CARROL and RICHARD CARROL.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. DUMP -- DAY]

LEGEND: 5.5 HOURS MISSING

(OFFICERS are all over the junk yard dump where the bus was abandoned.)

(An additional police car drives up. An ambulance is parked on the side with
JOHNNY ATKINS sitting on the back being checked out.)

(MRS. ATKINS runs through the junk yard dump toward JOHNNY.)

MRS. ATKINS: Johnny? Oh, god. Are you all right?

JOHNNY ATKINS: (mumbles) Yeah.

(She kisses him on the cheek and hugs him.)

MRS. ATKINS: Oh, thank god. (to DANNY) Thank you so much.

DANNY: (nods) You're welcome, Mrs. Atkins. Listen, before I could release
him, I'd like to ask him a couple more questions, but you're more than welcome
to sit in.

(MRS. ATKINS looks at JOHNNY, the steps aside to let DANNY talk.)

DANNY: Okay, now, can you tell me how all this started? From the beginning.

(Quick flashback to: [On the bus] RICHARD and DOUG CARROL board the bus.
They're carrying guns.)

DOUG CARROL: Okay, everybody, listen up!

(The other kids on the bus scream. DOUG CARROL is wearing a knit cap while
RICHARD CARROL wears a sweatshirt hood and sunglasses.)

DOUG CARROL: We're going on a bit of a field trip today.

RICHARD CARROL: Do what I say, man. Just ...

DOUG CARROL: Everybody, just watch their tongue, and nobody's going to get
hurt!

(The girls on the bus duck and scream. POLLY STEVENS starts to cry.)

DOUG CARROL: (sweetly) Come on, Polly. (shouts) No crying! (shouts to
everyone) We all know we didn't want to go to school today! Now, we are going
to have the adventure of our lives!

(End of flashback. Resume to present.)

JOHNNY ATKINS: First, they made the bus driver get off and the door move out.
And then they collected all of the cell phones and pagers, and then they took us
here.

(Quick flashback to: JOHNNY is huddled in his seat. DOUG CARROL unrolls some
tape and binds JOHNNY'S legs together.)

DOUG CARROL: Five million dollars. Ten o'clock, tomorrow morning, Monroe Park.
You got it?

(JOHNNY doesn't say anything.)

DOUG CARROL: Hey, you're the lucky one, man! The other ones -- they're the
ones in for it.

(DOUG reaches over and covers JOHNNY'S head. End of flashback. Resume to
present.)

DANNY: You didn't see where they took the others, or what they did with the bus
driver?

JOHNNY ATKINS: No.

MRS. ATKINS: Are you absolutely sure it was Doug and Richard Carrol?

JOHNNY ATKINS: Of course I'm sure. Why wouldn't I be sure?

MRS. ATKINS: Okay.

DANNY: Okay. Thanks.

(DANNY turns and leaves. MRS. ATKINS looks at JOHNNY and gives a small laugh.
She reaches out and kisses JOHNNY on the forehead. She hugs him.)


CUT TO:



[EXT./INT. CARROL RESIDENCE -- DAY]

(JACK knocks on the door.)

(Inside, BOB CARROL is on the phone. He goes to answer the door.)

BOB CARROL: (to the phone) Just hang-hang on a second, all right?

(He opens the door and finds JACK and DANNY standing outside.)

BOB CARROL: Yeah?

JACK: Mr. Carrol, we have a warrant to search your premises.

(JACK hands the warrant to BOB CARROL and walks into the house. DANNY follows.)

BOB CARROL: (to phone) I'll call you right back. (to DANNY) What the hell is
this?

JACK: We have an eyewitness that says that your sons hijacked the bus.

BOB CARROL: What eyewitness? Who?

(JACK turns around and looks at BOB CARROL.)

JACK: Who were you talking to just now?

BOB CARROL: A family friend, if that's okay with you.

(Other officers walk into the house.)

JACK: Where are your sons' bedrooms?

BOB CARROL: Upstairs.

(JACK and DANNY head upstairs. BOB CARROL watches them from the ground floor.)

CUT TO:



[EXT. NEW YORK CITY (STOCK) - DAY]



[INT. FBI - BULLPEN -- DAY]

(MARTIN walks toward the whiteboard where he puts up two pictures, one of DOUG
CARROL and the other of RICHARD CARROL.)

MARTIN: So, the Carrol boys transfer the other kids into a u-haul or a van or
something like that. They leave the bus in the ravine, and now they're on the
road again.

(He turns to SAMANTHA who is looking at the map on the conference table.)

SAMANTHA: Yeah, but they can't go too far if they got to be here to pick up the
ransom tomorrow morning.

(SAMANTHA points to the map in front of her.)

MARTIN: Well, unless one of them's driving the van out of the area, and then
the other one's going to go to the park for the meet.

SAMANTHA: Okay, Doug is 16. Richard's 15. How the hell did they get their
hands on a u-haul or a van?

MARTIN: Well, they could be working with somebody older.

SAMANTHA: Bus driver.

MARTIN: No. Johnny said that the bus driver was one of the hostages.

SAMANTHA: Yeah, I know what Johnny said. What I'm saying is, maybe he pretends
to be a hostage, give himself plausible deniability later. Boys take off with
the money. He hooks up with them in ... Mexico,

(MARTIN'S phone rings. He holds up a hand to SAMANTHA, then picks it up.)

SAMANTHA: (continues) Takes his cut.

(He answers the phone.)

MARTIN: (to phone) Fitzgerald. (pause) Yup. (pause) We know which one?

(SAMANTHA looks up at MARTIN, a question in her eyes. He holds up a finger for
her to wait.)

MARTIN: (to phone) (continues) No. Thanks. (pause) Yeah.

(MARTIN hangs up.)

MARTIN: (to SAMANTHA) We just got a trace on that anonymous phone call that
came into the principal. The call was made from a pay phone at the school.

SAMANTHA: One of the students?

MARTIN: Or teachers.

SAMANTHA: Or parents.

(MARTIN thinks about that.)

CUT TO:



[INT. HIGH SCHOOL -- DAY]

(Camera opens on an open kit as an agent dusts a phone for fingerprints.)

(Cut to: VIVIAN questions MRS. SUAREZ, the PRINCIPAL.)

VIVIAN: Tell me everything about the phone call.

MRS. SUAREZ (PRINCIPAL): I'm sorry, I can't remember exactly what he said. It
was very quick.

VIVIAN: And the voice -- it was definitely a man's?

MRS. SUAREZ (PRINCIPAL): Yes. I mean, some of the seniors have men's voice.

VIVIAN: Okay, how about Bob Carrol? Could it have been him?

MRS. SUAREZ (PRINCIPAL): (shakes her head) I don't know his voice well enough.

VIVIAN: Okay. Thanks.

(VIVIAN turns to leave the room. MRS. SUAREZ stops her.)

MRS. SUAREZ (PRINCIPAL): (suddenly doubtful about her decisions) Agent
Johnson? Do you think I should have seen this coming?

VIVIAN: (shakes her head) No. No.

(Camera holds on MRS. SUAREZ.)

CUT TO:



[INT. CARROL RESIDENCE -- DAY]

(An agent leads BOB CARROL into the boy's bedroom.)

JACK: (to agent at the computer) Would you mind giving us a few moments?

(The agent stands up and leaves. The other agent checks the closet.)

(JACK shows BOB CARROL a computer game where the player is a shooter and kills
various people in a school setting.)

JACK: Have you seen this?

BOB CARROL: No.

JACK: You get bonus points for killing teachers ... and girls. Do you keep
guns in the house?

BOB CARROL: No.

JACK: What about your boys?

BOB CARROL: No.

JACK: Would you even know?

(pause)

BOB CARROL: You probably ought to have more information before you go ahead and
judge me.

JACK: We're running a trace on your phone right now. If you've had any
conversations with your boys, you should tell me.

BOB CARROL: They haven't done anything wrong.

JACK: You haven't answered my question.

BOB CARROL: No. I haven't talked to them.

JACK: They were suspended at the end of last year. What were they doing during
the summer?

BOB CARROL: I really don't know. They both went off to summer camp.

JACK: Any trouble there?

BOB CARROL: Yeah. They went on a couple of panty raids. Is that a federal
offense?

JACK: Ah, no. Anything this morning?

BOB CARROL: I really didn't see them.

JACK: What about last night?

BOB CARROL: Well, yeah. Briefly.

(Quick flashback to: BOB CARROL walks into the boy's bedroom. Both boys are
sitting in the corner each holding a different instrument. DOUG has a drum on
his lap while RICHARD has a bass guitar.)

BOB CARROL: Hey, guys.

RICHARD CARROL: You have a date tonight?

BOB CARROL: Yeah. Kind of.

DOUG CARROL: More like a trick.

BOB CARROL: Hey, watch your mouth.

DOUG CARROL: What do you call it when they come over at 10:00 at night and
leave at 4:00 in the morning?

BOB CARROL: I don't like anybody staying over unless it's serious, for your
sakes.

DOUG CARROL: Wow. Thanks.

BOB: You know what? I don't know what the hell you two want from me.

(End of flashback. Resume to present.)

JACK: So, that was last night.

BOB CARROL: Sound interesting?

JACK: We've looked at your sons' e-mails. It would appear that they harbor
some resentment toward you.

BOB CARROL: Yeah. I know it's terrible -- me ... giving them everything they've
asked for. (pauses) What is your point? That they kidnapped their friends so
they could get my attention?

JACK: They're also asking for $5 million.

BOB CARROL: (shakes his head) You know, you look around here all you want, but
... you're way off base.

(BOB CARROL turns and leaves the bedroom.)

CUT TO:



[INT. FBI - COMPUTER ROOM -- DAY]

(SAMANTHA and MARTIN rush into the computer room. In the background, we can
hear the kids over the line.)

MARTIN: What have you got?

(Without their knowing, LAURA RANDALL follows them into the room. On the
monitor, they see the video and hear the sound.)

TRISH RANDALL: We can't wait long 'cause they're just outside. We're jammed
into a cargo truck somewhere.

J.J.: It's really hot.

TRISH RANDALL: Put it away, J.J. They're coming back.

J.J.: I'm really scared ... please don't let us ...

(The girls starts panicking as the KIDNAPPERS return and see that they still
have a phone.)

KIDNAPPER (MAN): What the hell is that? No, no, no. Give me that.

(On the video, there's a flash of light on metal.)

MARTIN: (to the technician) Can you enhance that?

(Behind them, LAURA RANDALL gasps and starts to cry.)

(They turn around and realize that she's standing there. SAMANTHA takes a step
toward her. LAURA RANDALL takes a step back and tries to control her crying.)

LAURA RANDALL: I need to use the restroom.

SAMANTHA: Down the hall to the right.

(LAURA RANDALL leaves the room. SAMANTHA watches her go for a moment, then
turns back to the computer video.)

SAMANTHA: Uh, okay, did ... did she say they were... ?

MARTIN: Yeah, she did. They're in a cargo truck. I rode in one of those,
hitchhiking across country, and after a few hours, there's really no air at all.

SAMANTHA: Oh, god.

(The TECHNICIAN works on the video.)

TECHNICIAN: Got something.

(He pauses on a particular frame, clears it up and a reflection of a man's face
is on the monitor. Someone they don't know.)

MARTIN: Who the hell is that?

SAMANTHA: It's not Doug or Richard.

(Camera holds on the photo of the kidnapper.)

FADE OUT.

(COMMERCIAL SET)



FADE IN

[EXT. NEW YORK COMMUNITY (STOCK) -- DAY]

LEGEND: 9.5 HOURS MISSING



[INT. ATKINS RESIDENCE - KITCHEN - DAY]

(DANNY takes out the photo of the kidnapper out from an envelope and shows it to
JOHNNY ATKINS.)

DANNY: Do you recognize him?

JOHNNY ATKINS: No. Who is he?

DANNY: Look closely, Johnny.

JOHNNY ATKINS: (shakes his head) No. I'm sorry.

DANNY: Do you, Mrs. Atkins?

(She looks at the photo.)

MRS. ATKINS: No. I ... could you please, uh, tell us what this is all about?

DANNY: Well, we think this man may be working with Doug and Richard.

(JOHNNY glances up at DANNY, then glances back down.)

MRS. ATKINS: Oh. Agent Taylor, could I, uh, speak with you privately for a
moment?

DANNY: Sure.

(DANNY and MRS. ATKINS step out of the kitchen. JOHNNY watches them leave.)

MRS. ATKINS: Uh ... this whole thing has been incredibly traumatic for him, and
I was just wondering if I, uh ... if I took him away from here for a day or two,
would that be a problem?

DANNY: Mrs. Atkins, I know you want to protect your boy, but we need to keep
him around here. If anything comes up, I'll know exactly where to go.

MRS. ATKINS: Yeah, sure. I understand.

(JOHNNY glances back at his mom and DANNY talking.)

CUT TO:



[EXT. NEW YORK CITY (STOCK) - DAY]



WHITEBOARD TIMELINE:
4 P.M. - TRISH'S CAMERA TAKEN



[INT. FBI - COMPUTER ROOM -- DAY]

(The computer runs individually through possible suspect photos that fit the
general physical profile of the man in the photo. SAMANTHA sighs and puts her
hands up.)

SAMANTHA: Sorry. I am having no luck here.

(MARTIN is going through individual mug shots trying to do a visual comparison.)

MARTIN: No? Well, I'm all the way back in the early '80s. I mean, what a good
time for fashion.

SAMANTHA: Yeah, well, don't look now, but it's coming back.

(VIVIAN walks into the room.)

VIVIAN: None of the parents recognize him.

SAMANTHA: So what's going on with the ransom?

(SAMANTHA turns around and stands up. VIVIAN reaches her desk, picks something
up and turns around to leave again.)

VIVIAN: The parents are going to pay. The drop is set for tomorrow morning.

CUT TO:



[EXT. NEW YORK CITY (STOCK) - NIGHT]



[INT. FBI - JACK'S OFFICE -- NIGHT]

(JACK is behind his desk and on the phone.)

JACK: (to phone) Well, I didn't tell them. I have no idea. Maybe they showed
it on tv. Yep. (pauses) Well, you have to make sure that the sitter keeps an
eye on what they're watching. (pauses) How ... I don't know. Tell them it'll
be fine. Tell them I'll take care of it.

(JACK sighs.)

JACK: (to phone) No. Got to stay here and see if I can catch an hour on the
couch. (pauses) Yes, I know. (pauses) Just ... tell them I love them and
that I'll be home soon. (pauses) Yeah, okay. Bye.

(JACK hangs up the phone and sits there a moment, just staring at nothing. He
clears his throat and continues to sit there in silence.)

CUT TO:



[EXT. MONROE PARK (STOCK) - (NEXT) DAY]



[EXT. MONTOR PARK -- DAY]

LEGEND: MONROE PARK 1 DAM

(JACK walks out of the car carrying a large bag stuffed with the ransom money.
He walks into the park.)

(Already in the park is VIVIAN on a blue mat doing some morning exercises. Also
in the park is DANNY with a worker's uniform on raking up the leaves.)

(VIVIAN looks at JACK and can't help but comment over the radio.)

VIVIAN: Well, he certainly looks as if he's old enough to have teenage kids.

DANNY: Definitely having a hard time with that bag.

VIVIAN: He says he's been working out. I guess $5 million bucks weighs a lot.

(JACK doesn't say anything to that. He makes his way to the pavilion. He looks
around the park and sees a young family with their baby in the stroller. He
sees a young black man walk along and throw something into the trash. Nothing
too suspicious.)

(JACK drops the bag on the ground near a concrete bench and sits down to wait.
He continues to look around.)

CUT TO:



[EXT. CARROL RESIDENCE - CAR (PARKED) -- DAY]

(SAMANTHA and MARTIN watch the CARROL residence from their parked car just
outside the driveway.)

SAMANTHA: You really think their father's in on it with them?

MARTIN: Doesn't look like he needs any more money. He's probably just
protecting his kids.

SAMANTHA: Yeah, remind me not to have any.

MARTIN: They don't all turn out to be psychopathic kidnappers, you know.

SAMANTHA: Let me guess -- 2.2, white picket fence, golden retriever.

MARTIN: Yeah, maybe. Something like that.

SAMANTHA: (sadly) Not for me. Not in this world.

(MARTIN stares at her. Outside, a small convertible turns into the driveway.)

SAMANTHA: Hey.

MARTIN: Here we go.

(MARTIN watches the car park just outside the front door.)

MARTIN: Let's see the picture.

(He glances down at the picture, then through the binoculars at the man who gets
out of the car.)

MARTIN: No, it's not the same guy. Here, take a look.

(He hands SAMANTHA the binoculars. She looks through them. He holds up the
photo for a comparison.)

MARTIN: See?

SAMANTHA: Yeah.

(They watch as the man knocks on the front door. It opens and he walks inside
the house.)

CUT TO:



INTERCUT WITH:

[MONROE PARK]

(VIVIAN continues to do her morning exercises. DANNY continues to rake the pile
of leaves. Both of them are keeping an eye out and around the area. JACK sits
in the bench and looks around.)

CUT TO:



[CARROL RESIDENCE]

(The door opens and the MAN walks out of the house. He gets into his car and
drives off. MARTIN and SAMANTHA watch as a few seconds later, BOB CARROL exits
the house from the front door. He closes the door and glances as his watch. In
his right hand, he has a carrying case.)

MARTIN: What's he doing?

(They watch as BOB CARROL gets in his red convertible and drives off.)

(MARTIN puts the binoculars aside.)

MARTIN: Let's go.

SAMANTHA: Yeah.

(He starts the car engine just as BOB CARROL turns out of his driveway and into
the street. They follow him.)

CUT TO:



[MONROE PARK]

(A man walks up the pathway. DANNY glances at him and notices him. He checks
the man against the photo.)

DANNY: (to radio)Subject approaching. Possible match with photo.

(JACK reaches for his gun, then pushes his jacket over to cover it. He keeps
his eye on the man walking.)

[SLOW MOTION CAMERA]

(On the possible suspect walking and looking around the park.)

[RESUME MOTION]

(The man heads directly for the pavilion and in a direct path of where JACK is
sitting. As the man gets closer, JACK slowly reaches for his gun.)

(The MAN steps under the pavilion. He's looking around ... he pauses ... then
raises his hand and calls out to someone off screen.)

MAN: Stacy!

(The man walks out from under the pavilion. JACK turns around to see the MAN
head for a WOMAN walking her dog. She smiles at him and they hug.)

(VIVIAN continues her morning exercises.)

(Hold on DANNY as he watches, then turns back to raking the leave in front of
him.)

CUT TO:



[ROAD]

(The red convertible speeds down the roadway. MARTIN and SAMANTHA follow.)

(BOB CARROL turns in and pulls into the park. MARTIN and SAMANTHA are turning
into the park.)

(BOB CARROL is out of his car. He reaches into the back seat and takes out the
carrying case. He closes the door behind him. He looks around the area, then
heads away from the car just as MARTIN and SAMANTHA park their car nearby.)

(They watch BOB CARROL as he walks hastily toward a place that isn't random.)

MARTIN: Cover the left?

SAMANTHA: Yeah.

(They both get out of the car.)

(As SAMANTHA gets out of the car, the camera holds on her gun ... )

[SLOW MOTION CAMERA]

(SAMANTHA puts her hand on her gun.)

[RESUME MOTION]

(SAMANTHA walks out to cover the left.)

CUT TO:



[MONROE PARK]

(JACK looks around. Finally, he stands up. He watches as the MAN picks up the
WOMAN'S dog. They walk away.)

JACK: (to comm) Something's not right.

(Camera moves from DANNY to VIVIAN.)

CUT TO:



[BOB CARROL]

(BOB CARROL sits on the park bench, his black carrying case next to him. He
puts a hand to his forehead as he waits.)

(A truck/convertible with two men inside parks nearby. The two men get out of
the car. MARTIN and SAMANTHA watch.)

(Cut to: BOB CARROL looks up and sees the two men approach. He slowly gets to
his feet.)

RED-HAIRED KIDNAPPER: Is that the money?

BOB CARROL: Count it.

(The red-haired kidnapper kneels down and opens the bag.)

BOB CARROL: It's $500,000.

DARK-HARIED KIDNAPPER: We said a million.

BOB CARROL: You give me my boys; you'll get the rest.

(The dark-haired kidnapper smiles.)

DARK-HAIRED KIDNAPPER: Yeah, right.

(The dark-haired kidnapper takes off his dark glasses.)

DARK-HAIRED KIDNAPPER: Where's the rest of it?

BOB CARROL: It's nearby. I can have it to you quickly

(The dark-haired kidnapper takes out a gun and points it at BOB CARROL.
SAMANTHA watches them carefully.)

DARK-HAIRED KIDNAPPER: Nearby? What do you mean, nearby?

(MARTIN keeps an eye out of the woman with her little girl walking close by.)

DARK-HAIRED KIDNAPPER: You tell me where it is right now.

(BOB CARROL holds up his hands to calm him down.)

BOB CARROL: Just... give me someone -- at least one kid; it doesn't have to be
mine -- just so I know you're good on your word.

(SAMANTHA slowly reaches for her gun. Both her hands are wrapped around the gun
handle.)

DARK-HAIRED KIDNAPPER: (o.s.) No-no-no-no. You don't tell me. I tell you. I
said a million.

BOB CARROL: (o.s.) You'll get it. I swear.

DARK-HAIRED KIDNAPPER: Sh--!

(The red-haired kidnapper is still kneeling down on the ground counting the
money in the bag. The dark-haired kidnapper takes a step forward and puts the
gun directly at BOB CARROL'S forehead. BOB CARROL cringes at being so close to
death.)

BOB CARROL: All right...

(SAMANTHA steps quickly out of her position from behind the trees.)

DARK-HAIRED KIDNAPPER: Where's the rest of it. I'm not fooling around.

(SAMANTHA raises her weapon and shouts. MARTIN waves the people in the vicinity
away.)

SAMANTHA: FBI!
MARTIN: Down! Get down!
SAMANTHA: Drop your weapon!

[SLOW MOTION CAMERA]

(The dark-haired kidnapper swings around and points his gun at SAMANTHA.
SAMANTHA fires and hits him in the side.)

[RESUME MOTION]

(BOB CARROL runs to the side.)

MARTIN: (runs forward) Drop the gun!

(The red-haired kidnapper stands up and raises his gun. SAMANTHA fires. She
hits him in his chest. She holds.)

(MARTIN runs forward.)

(BOB grabs the dark-haired kidnapper's shirt.)

BOB CARROL: Tell me where they are.

(Slow motion camera holds on SAMANTHA.)

MARTIN: (echoing) (to phone) I need EMS at Armonk State Park. I got two
suspects down.

(The ransom money litters the ground.)

BOB CARROL: (shouts) Where are they?!

(MARTIN picks up the weapon.)

BOB CARROL: (shouts desperately) Where are they?!

(BOB CARROL lingers over the dead man. He cries. SAMANTHA slowly walks up to
MARTIN who has his eyes on her. As everything settles, the two men are dead,
BOB CARROL has stopped yelling at the dark-haired kidnapper; and MARTIN and
SAMANTHA stand on the side looking down at the bodies on the grass.)

(Camera holds on SAMANTHA.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. NEW YORK CITY (STOCK) -- DAY]

LEGEND: 16 HOURS MISSING



[INT. FBI - INTERVIEW ROOM - DAY]

(JACK interviews BOB CARROL.)

JACK: So, they called yesterday afternoon.

BOB CARROL: They said forget about the five million. It was just a ruse to
distract you guys. What they really wanted was a million from me.

JACK: Why you?

BOB CARROL: I don't know. Maybe they thought I could afford it, I could get it
to them quickly. They said if I told you, they'd kill everybody. (nods) Yeah,
I was just trying to do the right thing.

JACK: (firmly) So what, you decided to go there with half the money and
bargain with them?

BOB CARROL: I don't give a damn about the money. I just wanted to get some of
those kids out of there.

JACK: Yeah, it was a great plan.

(BOB stops and stares at JACK.)

BOB CARROL: What the hell would you have done?

JACK: Well, considering that there were twelve kids' lives at risk, I would
have consulted the FBI who have some experience in this area.

BOB CARROL: If your agents hadn't shot those men, maybe we'd have a chance of
finding those kids.

JACK: If my agents hadn't shot those two men, you'd be dead. They saved your
life.

BOB CARROL: My life. My life isn't worth anything if you don't find my kids.

(Camera holds on JACK, then switches to the security camera view of the two men
sitting across from each other at the interview table.)

CUT TO:



[INT. FBI - JACK'S OFFICE -- DAY]

(SAMANTHA stands in JACK'S office, arms crossed waiting for him. JACK turns the
corner, walks down the hallway and into his office.)

SAMANTHA: Did you get anything out of Bob Carrol?

JACK: Not much. Pretty much back to square one.

SAMANTHA: Okay, so where do you want me?

JACK: You know I'm going to need to take your gun.

SAMANTHA: Yeah, I know. (SAMANTHA removes her gun and hands it to JACK.) Want
my badge and credentials, too?

JACK: You know it's just standard procedure.

SAMANTHA: How long till we get this straightened out with OPR?

JACK: I'm not sure. But you did the right thing; you made the right choice.

SAMANTHA: Yeah, I know, I know. That's why I want to get this straightened out
as soon as possible. I mean, when can I, when can I get back in the field?

(JACK looks at SAMANTHA.)

JACK: Go home.

SAMANTHA: Jack, I'm fine.

JACK: I'm not asking you.

SAMANTHA: I'm fine, I'm just ...

JACK: I'm not asking you. Go home.

(Not happy with the decision, SAMANTHA walks past JACK.)

SAMANTHA: Fine.

(SAMANTHA leaves the room. JACK looks down at the gun in his hand.)

CUT TO:



[INT. FBI - BULLPEN -- DAY]

(MARTIN grabs a file and heads for DANNY. He watches as SAMANTHA walks back
into the office and heads for her desk. SAMANTHA turns and leaves the office.)

DANNY: (on phone) Thanks.

(DANNY hangs up. MARTIN takes the file and puts it on the counter near DANNY'S
desk.)

MARTIN: You're going to love this. Ned Riley lived at 1888 Oakwood Street for
almost three years.

DANNY: (echoing) 1888 ...

(DANNY fades out as he realizes. MARTIN nods.)

DANNY: No.

MARTIN: Yeah.

(DANNY sighs.)

CUT TO:



[INT. FBI - CONFERENCE ROOM -- DAY]

(DANNY interviews JOHNNY with MRS. ATKINS and JACK in the conference room.)

DANNY: Why'd you lie to us, Johnny?

JOHNNY ATKINS: I didn't.

(DANNY puts the photo of NED RILEY, the red-haired kidnapper, on the table in
front of JOHNNY.)

DANNY: You recognize that guy?

MRS. ATKINS: This is Ned Riley. He used to rent the back room at our house.

DANNY: He was on the bus.

MRS. ATKINS: What?

DANNY: How about this man? (pause) He was on the bus, too.

MRS. ATKINS: Why didn't you tell them this?

JOHNNY ATKINS: I don't know.

DANNY: Did you know they were going to hijack the bus?

JOHNNY ATKINS: No, I don't know. It just happened so fast.

(Quick flashback to: On the bus, RICHARD CARROL sits in the seat behind JOHNNY
ATKINS and drapes his arms over the back of the chair. RICHARD is wearing a
sweatshirt with the hood over his head and a baseball cap.)

RICHARD CARROL: What's up, John boy? How was your summer?

(DOUG CARROL turns around in the seat in front of JOHNNY.)

RICHARD CARROL: Spend the whole time with mommy?

DOUG CARROL: I'd like to spend it with his mommy. She's a milf, isn't she?

RICHARD CARROL: Major milf.

(DOUG CARROL smiles and laughs unpleasantly at JOHNNY.)

DOUG CARROL: Johnny boy, how's your mommy?

(The bus continues down the road. Suddenly it lurches to a stop. The two
kidnappers with guns board the bus.)

CARL (DARK-HAIRED KIDNAPPER): Yo!

(The kids start screaming.)

CARL (DARK-HAIRED KIDNAPPER): Everybody, shh! Listen up.

(JOHNNY peaks over the chair back, then hides his face again.)

CARL (DARK-HAIRED KIDNAPPER): Listen up. We're going on a little field trip
today, okay? If everybody does what they're told, then nobody gets hurt.

(CARL looks down at POLLY STEVENS and shakes her chair.)

CARL (DARK-HAIRED KIDNAPPER): Hey, come on, sweetheart, sweetheart, No crying.
(to everyone else) All right. Come on now, huh? You guys didn't want to go to
school today anyways. Now you're going on the adventure of your lives.

(White flash to: JOHNNY is crouched in the chair.)

JOHNNY ATKINS: They got everyone off of the bus and then they told me to tell
you the stuff about the money.

(NED RILEY tapes up JOHNNY'S hands and feet.)

NED RILEY (RED-HAIRED KIDNAPPER): Five million dollars. Ten o'clock, tomorrow
morning at Monroe Park. You got it?

(JOHNNY looks at NED.)

NED RILEY (RED-HAIRED KIDNAPPER): Hey, man, we always talked about what you
could do with a little money in your pocket. You're going to have grand under
your pillow by tomorrow night. Get yourself a hot set of wheels, you'll never
have to worry about taking the bus again.

(NED finishes, grabs his gun and stands up.)

(End of flashback. Resume to present.)

JOHNNY ATKINS: All I had to do was give you a wrong description -- that's what
they said.

DANNY: And you just randomly decided to blame Doug and Richard, right? (pause)
Why?

JOHNNY ATKINS: 'Cause they're always giving me crap, so I thought that maybe,
you know, I could get them in trouble and ...

DANNY: Where are the other kids?

JOHNNY ATKINS: I don't know.

DONNY: Johnny, we're running out of time.

JOHNNY ATKINS: I swear, I don't know.

(JACK sits and watches the interview.)

JACK: Mrs. Atkins ... I think we should have a private conversation outside.

(JACK stands up.)

MRS. ATKINS: I'll be right back.

(MRS. ATKINS leaves the room and stands in the hallway with JACK.)

JACK: Your son is lying to us. You've got to convince him to tell us the
truth.

MRS. ATKINS: I don't understand. If you have Ned and that other man, can't
they tell you where the children are?

JACK: Those two men are dead.

MRS. ATKINS: Oh, god. Now, there is a bunch of children trapped in a cargo
truck with no air. They're going to suffocate and die unless you convince your
son to tell us the truth. Please.

(JACK opens the door. MRS. ATKINS walks back into the room; DANNY leaves the
room.)

(JACK and DANNY stand outside and wait. MRS. ATKINS takes the seat next to her
son. She talks for him for a while, then puts her hand under his chin and turns
his face to her. She says something else to him. He says something to her.
She smiles, nods and kisses his forehead.)

(MRS. ATKINS stands up and leaves the room. DANNY walks out of the hallway as
MRS. ATKINS talks with JACK.)

CUT TO:



[INT. STORAGE ROOM -- DAY]

(The door opens. JACK, DANNY, VIVIAN and MARTIN burst into the room, their guns
drawn. They quickly and cautiously walk into the room and look around.)

(They round the corner and advance toward the cargo truck. When it's clear that
it's safe, they pocket their weapons and run toward the container.)

(CC): Okay, it's clear.

(CC): There's the ... down there.

(They break the lock.)

(CC): It's the FBI. We're going to get you out of there.

(And open the door.)

(And find all the kids inside.)

JACK: It's okay, it's okay. Everyone all right?

(The kids get up and move out of the cargo container.)

VARIOUS: Okay, let's get out one at a time.
VARIOUS: You're fine.
VARIOUS: Get down.
VARIOUS: Watch your head.
VARIOUS: Get down, get down.
VARIOUS: You're all going home. Come on.
VARIOUS: Put your head down.
VARIOUS: Watch your heads, guys.

LYRICS:
["Mad World", sung by Gary Jules"]
... All around me are familiar faces / worn-out places / worn-out faces / ...

(Cut to: The storage area is taped up and the officers interview the various
children.)

LYRICS:
... bright and early for the daily races / going nowhere / going nowhere ...

(Parents are there to collect their children. PARAMEDICS check the kids.)

LYRICS:
... their tears are filling up their glasses / no expression / no expression /
...

(RICHARD and DOUG CARROL open the door to the house and walk inside. BOB CARROL
runs down the stairs to greet his sons. As soon as he sees them, he grabs them
both in a huge hug. All three of them are crying.)

LYRICS:
... hide my head -- I wanna drown my sorrow / no tomorrow / no tomorrow / ...

(Back at the storage place, TRISH RANDALL sits there staring into space. Behind
her, MRS. RANDALL rushes up to JACK. She turns and sees her daughter sitting on
the chair on the side. She rushes up to her and puts her arms around her. For
a moment, JACK watches them.)

LYRICS:
... and I find it kind of funny / I find it kind of sad / the dreams in which
I'm dying / are the best I've ever had / I find it hard to tell you / I find it
hard to take / when people run in circles / it's a very, very...

(Camera pulls up and little and holds on the scene.)

CUT TO:



[INT. FBI - HALLWAY -- NIGHT]

(MRS. ATKINS sits in the chair in the hallway. She looks up as JACK approaches
her. She stands up.)

JACK: Mrs. Atkins. Thank you for waiting.

MRS. ATKINS: Is everyone all right?

JACK: Yes. Would you mind? Follow me, please.

(JACK motions for her to come into his office. He turns and walks into his
office.)

[JACK'S OFFICE -- CONTINUOUS]

JACK: Take a seat, Mrs. Atkins, right here.

(MRS. ATKINS takes a seat. JACK sits behind his desk. She has her eyes on the
tape machine on his desk.)

JACK: All of these rooms... have microphones ... that are extremely sensitive.
Extremely sensitive.

(JACK turns the tape machine on.)

(On tape, we hear a chair scraping against the floor.)

MRS. ATKINS: (quietly) Hey, babe, I just want you to know I'm going to get you
out of this, okay?

(Quick flashback into: MRS. ATKINS talks with JOHNNY.)

JOHNNY ATKINS: (softly) You knew Ned was going to do it, didn't you?

MRS. ATKINS: Johnny, you really think I'm capable of that? Don't you know me?
Look, you just keep quiet and let me take care of this, okay?

(She reaches out an pulls his chin toward her so that he's facing her.)

MRS. ATKINS: Say the words, Johnny. Promise me.

JOHNNY ATKINS: I promise.

MRS. ATKINS: I'll be right back. I love you, sweetheart.

(She kisses him on the forehead.)

(End of flashback. Resume to present.)

(The tape machine resumes with a chair sliding on the floor and MRS. ATKINS'
footsteps fading as she walks toward the door.)

(JACK turns the machine off.)

JACK: He never said where the truck was.

(beat)

JACK: You did.

(MRS. ATKINS doesn't say anything. After a moment, JACK takes a breath and
explains.)

JACK: All right, Mrs. Atkins, let me swing it together for you. Here's what I
think happened. Ned moves in ... seduces you ... convinces you to get involved
in his kidnapping plan. Gets you to make the anonymous tip to the high school -
- the phone call -

(Quick flashback to: MRS. ATKINS on the phone and playing back the tape
recorder over the phone.)

JACK: (v.o.) ... except it's an audio tape.

(End of flashback. Resume to present.)

JACK: Ned's voice.

MRS. ATKINS: (shakes her head) No.

(beat)

MRS. ATKINS: That was Carl's voice.

JACK: Oh, really.

MRS. ATKINS: You just don't get it, do you?

JACK: Get what?

MRS. ATKINS: What it's like in that town ... with their cars ... their houses
... their pools ... the way they look at you like you're beneath them. Why
shouldn't I have what they have, huh? Why shouldn't my son?

JACK: Oh, you did this for your son? What you did was put your son through
hell. You've made him lie for you from the beginning.

MRS. ATKINS: (hard and angry) He wouldn't have had to lie. If Ned had worn
the mask, none of this would've happened!

(JACK doesn't say anything. MRS. ATKINS pulls back as she realizes her mistake.
She wasn't the accomplice, but the mastermind.)

JACK: Stay here, please.

(JACK stands up to leave.)

CUT TO:



[INT. FBI - HALLWAY -- DAY]

(JOHNNY and DANNY sit side-by-side out on the chairs in the hallway.)

JOHNNY ATKINS: So, is my mom coming soon?

DANNY: (quietly) Johnny, we still have a few more questions we need to ask
her.

JOHNNY ATKINS: (nods) Okay.

(Camera holds on the two.)

CUT TO:



[EXT. NEW YORK CITY (STOCK) - NIGHT]



[INT. FBI - BULLPEN -- NIGHT]

(SAMANTHA walks into the office. It's late and nearly everyone is gone. She
sighs and walks through the bullpen. She stands in front of her desk. MARTIN
sees her. He puts a file down on his desktop counter.)

MARTIN: Hey, what are you doing here?

(SAMANTHA turns around.)

SAMANTHA: I forgot something.

(MARTIN stands there and waits for SAMANTHA to explain.)

SAMANTHA: The kids are all right?

MARTIN: That's what Roger Daltry says.

SAMANTHA: (smiles) Right. Yeah.

MARTIN: Get some sleep, will you?

SAMANTHA: Yeah, I just got to ... find the thing that I forgot ... before.

MARTIN: Right.

SAMANTHA: Yeah.

MARTIN: Okay.

SAMANTHA: Goodnight.

MARTIN: G'Night.

(MARTIN reaches down and picks up his case. SAMANTHA turns back to her dark
desk. MARTIN slings his case/backpack over his shoulder and heads for the
door.)

(Suddenly, SAMANTHA turns around and stops him.)

SAMANTHA: Martin?

(MARTIN turns around and walks back to toward SAMANTHA. SAMANTHA takes a couple
of steps toward him.)

SAMANTHA: You know how you said we should get a drink sometime?

MARTIN: Yeah.

SAMANTHA: I could really use a drink.

MARTIN: Well ... nothing worse than a beautiful woman drinking alone.

(SAMANTHA presses her finger tips against the bridge of her nose.)

SAMANTHA: (whispers) Yeah.

(MARTIN motions with his head.)

SAMANTHA: Okay.

(They leave the office together. They have an indistinct conversation on their
way out the door.)

LYRICS: (cc)
... Made to feel the way that every child should / sit and listen / sit and
listen / went to school, and I was very nervous / no one knew me / no one knew
me / hello, teacher, tell me, what's my lesson? ...

CUT TO:



[EXT. NEW YORK CITY (STOCK) - NEXT MORNGING]



[EXT. SIDEWALK OUTSIDE ST. THOMAS DAY SCHOOL - MORNING]

(This morning, JACK is walking both his daughters to school. He stands between
them holding on to each of their hands.

JACK: (to HANNAH) You get your lunch money?

HANNAH: Yeah.

(They reach the front of the school.)

JACK: Okay, here we are. Give me a hug. Come on.

(This morning, JACK leans over and both his daughters give him a hug. He grunts
as he receives it.)

JACK: All right, you guys. Have a good day at school, all right?

(He looks both at HANNAH and at KATE -- neither one of them moves from his side.
JACK looks at them. This time, it's KATE who explains what's wrong. HANNAH
remains quiet.)

KATE: We don't want to go.

JACK: Why not?

HANNAH: We're scared.

JACK: Of what?

HANNAH: That something will happen -- something bad -- like at the other
school.

JACK: Nothing's going to happen to you, okay? You're perfectly safe.

HANNAH: How do you know?

(JACK looks from HANNAH to KATE who looks back at JACK waiting for his response.
When he doesn't say something immediately, she glances away, worried. JACK puts
his arms around each of them.)

JACK: Trust me. I know. Go.

(JACK sighs.)

(He watches them go into the building. Behind him, a group of girls run down
the sidewalk trying to make it inside on time. JACK turns around and starts
walking down the sidewalk away from the camera.)

LYRICS:
... Mad world / mad world ...

FADE TO BLACK.

========================
THE END
========================

[Captioning sponsored by CBS and Warner Bros. Television (cc) 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)

Do not archive this transcript without permission from the Transcriptionist.

========================
BEGINNING/TITLE CREDITS
========================
WITHOUT A TRACE
2X01: THE BUS
ORIGINAL AIR DATE ON CBS: 09/25/2003
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
CHRISTOPHER McDONALD as Bob Carrol
JOHN P. CONNOLLY

ANTON YELCHIN
CHARLOTTE ORTIZ COLAVIN

And
JANE BROOK

Co-Producer: ALLISON ABNER
Co-Producer: NANCY VAN DOORENWAARD

Producer: SIMON MIRREN
Producer: PAUL HOLAHAN
Supervising Producer: JAN NASH
Supervising Producer: GREG WALKER

Produced by: SCOTT WHITE

Co-Executive Producer: JENNIFER LEVIN
Co-Executive Producer: JACOB EPSTEIN

Executive Producer: JONATHAN LITTMAN

Written by: HANK STEINBERG
Directed by: PAUL HOLAHAN

========================
END CREDITS
========================

Executive Producer: JERRY BRUCKHEIMER
Executive Producer: ED REDLICH
Executive Producer: HANK STEINBERG

JERRY BRUCKHEIMER Television
CBS Productions
Warner Bros. Television, An AOL Time Warner Company www.warnerbros.com

Story Editor: MARIA MAGGENTI
Director of Photography: ERNEST HOLZMAN, A.S.C.

Production Designer: DENNY DUGALLY
Edited by: JOHN F. SHOWALTER

Music by PETER MANNING ROBINSON
Theme by JOHNNY KLIMEK and REINHOLD HEIL

Unit Production Manager: TIM SILVER

First Assistant Director: KEN COLLINS
Second Assistant Director: XOCHI BLYMER

Casting by: GARRY M. ZUCKERBROD, C.S.A.

Co-Starring
TRACY ALISON WALSH as Trish (Randall)
LAURA MARANO as Kate (Malone)
VANESSA MARANO as Hannah (Malone)

CHRISTIAN J. MEOLI as Carl
JON ERIK as Ned Riley

TY MILLER as Tech Agent
NICK CHASTAIN as Doug
MARI WEISS as Laura Randall

WILLIAM CHRISTIAN as Bernard (Griffith)
LAUREN ROBINSON as Polly
CHRIS COLLINS as Richard (Carrol)

Technical Advisor: MARK LLEWELLYN
Set Decorator: JEANNIE GUNN, S.D.S.A.

Property Master: JOHN HARRINGTON
Assistant Production Coordinator: KELLY McCORMICK

Costume Designer: LUKE REICHLE
Costume Supervisor: SUE BUB
Make-up Artist: Michael mills
Hairstylist: STEPHEN A. ELSBREE

Production Sound Mixer: JAY PATTERSON, C.A.S.
Associate producer/ Production Coordinator: BRETT CRANFORD

Original Casting by: RONNA KRESS, C.S.A. and TRACY KAPLAN C.S.A.

Supervising Sound Editor: CORMAC FUNGE
Music Supervisor: ANNE LITT
Music Editor: DAN RAZIEL
Re-recording Mixers: YURI REESE / BILL SMITH

Film Processing by DELUXE
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

Production #176401

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:09/28/2003~lky
http://www.webphilia.com/~anthology/wnp.html