Episodes

02.05 - Copycat --- Transcript

WITHOUT A TRACE
2X05: COPYCAT
ORIGINAL AIR DATE ON CBS: 10/30/2003
TRANSCRIBED FROM CBS

Written by: JENNIFER LEVIN
Directed by: TIM MATHESON

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

Do not archive this transcript without permission from the Transcriptionist.

RATING: TV-PG-L
HDTV
==========================
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==========================
SUMMARY: Graham Spaulding is back! The team investigates the disappearance of
a stay-at-home mother from her home. In what eerily appears to be a duplication
of one of Jack's old cases, they are stunned to find that it is an elaborate set
up to draw Jack out and to hit him where it hurts him the most.
==========================
WITHOUT A TRACE
2X05: COPYCAT
==========================



FADE IN.

[EXT. COMMUNITY (STOCK) - DAY]

CUE MUSIC:
"One of These Mornings", by Moby

[EXT. STREET (STOCK) - DAY]

(A car travels along the street in front of a house. The car, New York license
#TBU 56C8, turns into the driveway for house #3644.)

LYRICS:
One of These Mornings ...



[EXT. LOVITT RESIDENCE - DRIVEWAY - DAY]

(The woman pulls up into the driveway and turns the car engine off.)

LYRICS:
won't be very long / you will look for me...

(She talks quietly to the baby in the back seat.)

DORIS LOVITT: We're home, honey. Yeah, you're happy about that, huh?

(DORIS LOVITT opens the front car door and gets out of the car.)

LYRICS:
And I'll be gone / one of these mornings...

(In the back seat, her baby cries. DORIS LOVITT opens the back seat door and
reaches into the car.)

DORIS LOVITT: Okay. There you go. Oh, you play with ducky. I'm just going to
unload the groceries we just got.

(DORIS picks up all the grocery bags in her arms and stands up. Her baby
continues to cry.)

LYRICS:
Won't be very long ...

(She pauses and looks at SOPHIE.)

DORIS LOVITT: It's okay, sweetie. I'm just going to put the bags in the house.

LYRICS:
You will look for me ...

(With her grocery bags in her arms, DORIS leaves the car door open. She takes
one last look at SOPHIE to make sure she's all right.)

DORIS LOVITT: It's all right, Sophie honey. Mama's coming right back.

(As she heads for the front door, DORIS LOVITT vanishes.)

LYRICS:
And I'll be gone ...

(Camera moves back toward the car. SOPHIE still sits in the back seat, the back
door wide open, her cries piercing the air.)

WHITE BLUR TO:



[EXT. LOVITT RESIDENCE - DRIVEWAY - DAY]

(Sirens sound. An officer walks by as he talks into his hand-held radio.)

(In the back, CHIEF JOHN CASEY greets JACK with a friendly familiarity.)

CHIEF JOHN CASEY: They told me you were coming. How you doing?

(They shake hands.)

JACK: Hi, John. How are you?

CHIEF JOHN CASEY: Can't complain.

(JACK introduces SAMANTHA as they all walk toward the driveway. They shake
hands.)

JACK: Special Agent Spade, Detective John Casey.

LEGEND:
3 HOURS MISSING

SAMANTHA: Hi.

CHIEF JOHN CASEY: Nice to meet you. It's actually Chief now.

JACK: Congratulations. Well-deserved, I'm sure.

CHIEF JOHN CASEY: Yeah, to you, too. I heard they've got you running the
department now. Not that I'm surprised. (to SAMANTHA) This guy's the real
deal here.

SAMANTHA: So I hear.

(They reach the driveway and the crime scene tape surrounding the area.)

JACK: So what's going on?

CHIEF JOHN CASEY: Doris Lovitt. Thirty-five, mother of three.

(An officer snaps photos of the car.)

CHIEF JOHN CASEY: Last time she was seen was at the checkout counter at Wal-
Mart ten o'clock this morning. Ten-forty-five, the next-door neighbor found the
baby crying in the backseat. She's fine. Mom's nowhere to be found.

SAMANTHA: Any indication of a struggle?

CHIEF JOHN CASEY: Yeah, in the house.

(He turns back to indicate the open door with the grocery bags on the floor. As
he listens, JACK looks around and sees a sign: SEARCH LIGHT SECURITY 800-555-
0123.)

CHIEF JOHN CASEY: Vases broken, groceries all over the floor. We're checking
for prints, blood, the usual. Nothing yet.

JACK: What about the security system?

CHIEF JOHN CASEY: It was cut. We've got forensics working on that now.

SAMANTHA: Is there a husband in the picture?

CHIEF JOHN CASEY: Yeah, he's in the back. He's pretty shook up.

(JOHN CASEY looks meaningfully at JACK.)

CHIEF JOHN CASEY: A lot of people in Rockville are going to be.

(Quick flashback to: A young woman dead, head back against the back of the
chair. End of flashback. Resume to present.)

JACK: Yeah, well, it fits the profile.

CHIEF JOHN CASEY: Mm-hmm. Caucasian, stay-at-home mom, taken in broad
daylight.

SAMANTHA: What profile?

JACK: (to SAMANTHA) Uh, 1991. John and I worked on a series of five female
kidnappings in Rockville.

(He turns to look at JOHN CASEY.)

JACK: They all ended up dead.

FADE TO
END OF TEASER
ROLL TITLE CREDITS

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. COMMUNITY (STOCK) - DAY]



[EXT. LOVITT RESIDENCE - BACKYARD -- DAY]

(SAMANTHA questions DORIS LOVITT'S husband, DAVE, while JACK looks around the
backyard.)

SAMANTHA: Has she been moody or upset lately? Notice anything different?

DAVE LOVITT: No, everything's been fine.

SAMANTHA: So, do you remember anything unusual from the past few days? Uh,
anyone hanging around the house, strange phone calls ...

(JACK turns around and stands next to DAVE LOVITT who sits on the hammock.)

DAVE LOVITT: No. Does this have something to do with what happened back in
'91?

JACK: We're not sure. It's possible.

DAVE LOVITT: But didn't they catch that guy?

JACK: Yes, they did, and he's still in prison.

SAMANTHA: Your neighbor said she heard you and your wife arguing yesterday.

DAVE LOVITT: We had a slight disagreement, uh ... it wasn't a big deal.

SAMANTHA: Can you be more specific?

DAVE LOVITT: My wife was supposed to be home at 2:30. When she was late, I got
a bit aggravated.

(Quick flashback to: [EXT. LOVITT RESIDENCE - BACKYARD - DAY] The two older
boys are playing on the hammock. DAVE is feeding SOPHIE. He looks up
exasperated at his sons.

DAVE LOVITT: Nicholas, how many times do I have to ask you to go set the table,
please?

(DORIS walks out of the house to the backyard. She puts her bag and jacket down
on the ground. DAVE turns to tend to the food cooking on the barbeque.)

DORIS LOVITT: Sorry, I'm late. I went to Starbucks with Julie after class.
She'd definitely leaving Brian. (to SOPHIE) Hey, pumpkin.

(He turns, glances at her and shakes his head.)

DORIS LOVITT: What's wrong?

DAVE LOVITT: What's wrong is I don't have ten hands.

DORIS LOVITT: (smiles, amused) Ten? I do this every day with two.

DAVE LOVITT: What else you been doing with two hands?

DORIS LOVITT: What is that supposed to mean?

DAVE LOVITT: It supposed to mean that Julie called, looking for you and you
finished coffee and hour and a half ago.

DORIS LOVITT: (rolls her eyes upward) Oh, god!

DAVE LOVITT: (mocks) Oh, god! Well, if I lied to you ...

DORIS LOVITT: I wasn't lying. I went to go and get Nick's birthday present.

DAVE LOVITT: Really? Where is it?

DORIS LOVITT: They didn't have any more. God, this is insane. Look, sweetie,
I'm sorry, I should have called to let you know I was going to be late. Okay?
It won't happen again.

(She reaches up and gives him a hug in apology.)

(End of flashback. Resume to present.)

JACK: Sounds to me like you thought your wife was having an affair.

DAVE LOVITT: I don't know, I, uh, I've always been kind of a jealous guy, and,
um, I'm probably being paranoid.

SAMANTHA: The police said you were jogging around the golf course when she
disappeared. Is that right?

DAVE LOVITT: I was supposed to be in court, the case got postponed, so I went
running.

JACK: Okay. Excuse us.

(JACK and SAMANTHA step away for a moment.)

JACK: I want you to run a trap and trace on his phone, stick around and
monitor.

SAMANTHA: The phone or him?

JACK: Both.

CUT TO:



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

LEGEND: 5 HOURS MISSING



[INT. FBI - BULLPEN - DAY]

(MARTIN puts the photo of DORIS LOVITT up on the whiteboard above the case #:
7A-NY-397124 / "DORIS LOVITT". He turns and heads back to the conference table
where he takes his seat. JACK fills the rest of the team in on the old case.)

JACK: The press dubbed him "The Rockville Killer." All his victims were female
Caucasians between the age of 25 and 35. They were all housewives, mothers, and
they were all abducted in the middle of the day while doing chores. He would
put them in his car, drive them to abandoned warehouses in the area, where he
would rape and torture them for, for days. Finally, he would strangle them to
death. He would then paint their nails, apply makeup, do their hair, put them
in lingerie, almost like they were dolls.

(Quick flash of: A young woman dead. End of flashback. Resume to present.)

JACK: And there would always be a tape deck ... with "Tchaikovsky's Arabian
Dance" playing in the background.

DANNY: Where's the beauty school dropout now?

JACK: He's doing life downstate. His name's Randy Thorton.

VIVIAN: Was there ever any doubt?

JACK: About what?

VIVIAN: About whether he was your guy.

(Quick flashback to: A young woman dead in the chair in the middle of the
warehouse in her lingerie. Flash to: RANDY THORNTON in prison orange. End of
flashback. Resume to present.)

JACK: No.

DANNY: What about a partner?

MARTIN: (doubtfully) Who waited twelve years to take his next victim?

DANNY: Maybe he didn't wait. Maybe he took his ...

JACK: (interrupting, flatly) There was no partner.

(There's a long moment of silence.)

VIVIAN: Well, shouldn't we at least consider it?

JACK: I spent a year of my life on this case. We ran all the checks. Phone,
banking, computer, everything, and it all led to the same conclusion: That this
was a solo killer.

VIVIAN: (reluctantly) Okay.

MARTIN: We've got ourselves a copycat.

JACK: Right, which means we are dealing with someone of above-average
intelligence, who is capable of researching the material, twisting the facts,
and incorporating it into his own scenario.

MARTIN: Well, the husband's a lawyer. They're usually of above average
intelligence. (beat) Sort of.

JACK: Has anyone been able to confirm his story about running around the golf
course?

DANNY: Not yet.

JACK: Okay, Viv. I want you and Danny to dig up as much as you can on this
guy. Martin, I want you to come with me.

MARTIN: Where are we headed?

JACK: To visit the Rockwell Killer.

(MARTIN and JACK stand up and leave the conference table.)

CUT TO:



[EXT. LOVITT RESIDENCE - DRIVEWAY -- DAY]

(VIVIAN questions CHIEF JOHN CASEY.)

CHIEF JOHN CASEY: We've talked to all of her girlfriends. They said everything
between Doris and her husband is fine.

VIVIAN: Let me ask you something about the old case. Were there any other
suspects besides Randy Thorton?

CHIEF JOHN CASEY: Not that I recall, but you should ask Jack. He knows this
case better than anyone.

VIVIAN: I already have. I was just being thorough.

CHIEF JOHN CASEY: You must have learned that from Jack. Never seen a guy work
so hard on a case, or get so torn up about it. Especially that last victim.

VIVIAN: What do you mean?

CHIEF JOHN CASEY: He didn't tell you?

VIVIAN: No ...

CHIEF JOHN CASEY: With the last victim, we were one hour late. One hour.

VIVIAN: It must have been awful.

CHIEF JOHN CASEY: Yeah. We had drinks six months later. I could see he still
hadn't gotten over it. I haven't seen him since, but it looks to me like it
still wears on him.

VIVIAN: I think that's the job in general.

CHIEF JOHN CASEY: Yeah ...

CUT TO:



[INT. DOWNSTATE PRISON - HALLWAY -- DAY]

(JACK and MARTIN sign in as the bars across the corridor slide open.)

MARTIN: You sure you want me to do this? You're the one that has a history
with this guy.

JACK: Yeah, not a very good one.

(They walk inside.)

JACK: Okay ... now listen... he's a classic alpha male with homophobic
tendencies that sublimate into his hatred for women. He likes to be in control.
Let him.

(The door buzzes and opens.)

JACK: Secretly, he likes authority. So don't take any crap from him.

MARTIN: Not a problem.

(JACK pats MARTIN on the back twice.)

JACK: Good luck, Clarice.

(MARTIN rolls his eyes at JACK and steps through the doorway as JACK watches.)

CUT TO:



[INT. DOWNSTATE PRISON - INTERVIEW ROOM - DAY -- CONTINUOUS]

[MONITOR VIEW]

(Inside the interview room, MARTIN waits at the table while a SECURITY GUARD
escorts RANDY THORNTON into the room. The bottom of the monitor reads **:55:19
(on the left) and 10-22-03 (on the right). )

(Camera pulls back from the monitor to show the observation room across the
corridor from the interview room. JACK stands facing the observation window,
the mirror reflecting his stance, his arms crossed.)

[INTERVIEW ROOM]

RANDY THORNTON: (to MARTIN) What do you need, G-man?

MARTIN: I assume you've heard that another woman's gone missing in Rockville.

RANDY THORNTON: I told you guys I was innocent.

(He laughs and shakes his head.)

RANDY THORNTON: Where's that Douchebag Malone? I bet he's crapping his tighty-
whiteys right now.

MARTIN: That's funny. So who the hell's Bob Sherman?

RANDY THORNTON: Never heard of him.

MARTIN: Well, according to the prison logbook, he's the only visitor you've had
in the last eight months.

RANDY THORNTON: Oh, that Bob Sherman.

MARTIN: That Bob Sherman.

RANDY THORNTON: Ah, yeah. He's my new lawyer. He's going to get me out of
here.

CUT TO:



[OBSERVATION ROOM]

(The SECURITY GUARD walks into the room carrying a couple of security video
tapes.)

SECURITY GUARD: You wanted to see the security tapes from two weeks ago?

(JAKE takes the tapes and sets them up in the video player.)

JACK: Yeah, thanks.

(In the background, we can still hear MARTIN'S conversation with RANDY
THORNTON.)

(JACK presses play.)

[ON MONITOR]

(On 10-08-03 at 04:09:51, the janitor sweeps the interview room floor.)

(JACK fast forwards through the tape.)

(On 10-08-03 at 04:10:49, a guard escorts a man into the interview room. The
man sits down, then reaches over to pick up something he dropped on the floor.
He glances back at the security camera.)

(JACK rewinds the tape and plays it again. He pauses it at 04:11:03 when the
man turns back to look at the security camera.)

(Camera zooms forward to the man sitting at the table.)

(Dissolve in various clips of GRAHAM SPAULDING from 1X05: Suspect and 1X21: Are
You Now Or Have You Ever Been?.)

GRAHAM SPAULDING: (v.o.) Do I get my 15 minutes now?

(End of flash clips. Resume on JACK.)

(Camera focuses in on the monitor and GRAHAM SPAULDING.)

SECURITY GUARD: You know that guy?

(intense beat)

(JACK'S eyes never leave the monitor.)

JACK: (grimly) Yeah, I know him.

(Camera zooms in and holds on GRAHAM SPAULDING on the monitor.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

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

LEGEND: 7 HOURS MISSING



[INT. DOWNSTATE PRISON - INTERVIEW ROOM - DAY]

(JACK is now interviewing RANDY THORNTON directly while MARTIN sits on the side
and watches.)

JACK: I know that Graham Spaulding came here to see you. What did you tell
him?

RANDY THORNTON: Well, like I told your butt-boy there, my lawyer's name is Bob
Sherman.

JACK: What did you tell him?

RANDY THORNTON: Ever hear of lawyer-client privilege? I'm not saying a thing.

JACK: (coldly) I hear that you're the prison bitch to half of cell block C.
Guards tell me they hear you crying for your mother four nights a week. I can
get you transferred out of here if you tell me what I want to know.

RANDY THORNTON: You want to know? Okay, I'll tell you.

(Quick flashback to: GRAHAM SPAULDING sits across the interview table from
RANDY THORNTON. He hands him his business card.)

RANDY THORNTON: So, you want to be my lawyer.

GRAHAM SPAULDING: (smiling) If you'll let me.

RANDY THORNTON: I'm here ten years, and now ... (he glances down at the card)
... "Bob Sherman" wants to represent me.

GRAHAM SPAULDING: Okay, how about this? Jack Malone.

RANDY THORNTON: What about him?

GRAHAM SPAULDING: Well, he's the reason you're in here.

RANDY THORNTON: Yeah.

GRAHAM SPAULDING: I know Jack. He's put away a few clients of mine, or at
least tried to. He's a sloppy man, and sloppy men make mistakes. In fact, I
just tried a case where he neglected to get a search warrant. And my client was
set free.

(That has RANDY'S attention. He leans forward, interested.)

GRAHAM SPAULDING: That could be you, Mr. Thorton. All I need to do is find
that one small mistake he made in your case, and you could be a free man. And
to think of all the trouble you could get into.

(GRAHAM SPAULDING reaches across the table and puts his hand deliberately over
RANDY'S. RANDY glances down at their hands, then back at GRAHAM SPAULDING.)

(End of flashback. Resume to present.)

RANDY THORNTON: And that's what he told me -- that you suck.

(RANDY laughs.)

JACK: And what did you say?

RANDY THORNTON: I told him I agree.

JACK: So, do you want the transfer or not?

RANDY THORNTON: Actually, I'm pretty fine now. Anyhow, I got me a good lawyer.

JACK: (hard) You got about a minute to tell me what I want to know.

RANDY THORNTON: (leans forward, challenging) Or what?

(JACK leans forward meeting his gaze.)

JACK: (unrelenting) Or you're going to spend the rest of your life in here,
bending over in the shower to pick up the soap.

(pause)

(RANDY suddenly stands up and pushes away from the table shouting at the top of
his lungs.)

RANDY THORNTON: Guard! Get me out of here! Get me out of here!

(JACK and MARTIN also stand up. MARTIN moves around the table and pushes RANDY
THORNTON back down into his seat.)

(JACK casually walks around the room in a wide circle. The SECURITY GUARDS rush
into the room to subdue RANDY THORNTON. They pull him up and they leave the
room.)

JACK: (parting) Say "hi" to your boyfriends for me.

MARTIN: That went well.

(MARTIN glances at JACK and sighs.)

MARTIN: So, what now?

JACK: Now, we find Spaulding.

CUT TO:



[EXT. SPAULDING'S LOFT -- DAY]

(The sign over the building reads: LOFTS FOR RENT / Aprox. 1,100 - 3,000 sq.ft
/ High Ceilings / Large Windows / *** DUGALLY REALTORS / Hardwood Floors /
Skylights / 800-555-0191.)

(JACK and the OFFICER walk toward GRAHAM SPAULDING'S apartment.)

OFFICER: I'm keeping an eye on him just like you told me.

JACK: Then how the hell did he get to downstate prison without us knowing about
it?

OFFICER: I got a beat to cover. I can't follow him 24/7. I've been doing the
best I can, and nothing's changed since the last time you called in. He's
registered with our office, hasn't been near any parks, schools, nothing.
Landlady says she hasn't seen any kids around here.

(They reach the corridor just outside SPAULDING'S apartment and notice the
door's open. They take out their guns and walk inside.)

CUT TO:



[INT. SPAULDING'S APARTMENT - DAY - CONTINUOUS]

(The OFFICER knocks on the door.)

OFFICER: (o.s.) Police! Open up.

JACK: Check in the back room to the left.

(JACK follows the OFFICER into the apartment. The OFFICER goes left, JACK goes
right.)

OFFICER: Clear.

(They both put their guns away. On the table in front of the kitchen, there's a
laptop with a tea cup next to it.)

OFFICER: (looking around the room) Looks like he's going for an understated
look.

JACK: I don't think he was planning staying long.

(JACK examines the set up of the laptop and tea cup on the table. He leans
forward to examine the tea cup closer.)

(The OFFICER checks the cabinets in the kitchenette.)

OFFICER: Some rags in here. Looks like they got blood on them.

JACK: Just leave that for the ER team.

(JACK continues to examine the kitchen table set up: the laptop, the tea cup
and the empty chair.)

(Quick vision of: GRAHAM SPAULDING sits at the table in front of the lap top
while dipping a tea bag into his tea cup. JACK stands on the side watching.)

(The OFFICER stands in the back of the room watching JACK.)

OFFICER: What's the deal with you and this guy? He's a child molester, but
he's not the only one out there.

(JACK continues to envision GRAHAM SPAULDING in the chair at the kitchen table
as he answers the OFFICER'S question.)

JACK: There's a lot more to Graham Spaulding than that. He's a sociopath and a
killer.

(End of vision. Resume to present.)

(JACK turns his head for a moment, glancing behind him. On the barely empty
bookshelf is a telephone book. Tucked behind the telephone book is a baseball.)

(JACK picks up the baseball and looks at it. Turning it around, he finds that
the baseball is signed.)

OFFICER: What is it?

JACK: It's a message.

CUT TO:



[INT. FBI - BULLPEN -- NIGHT]

(JACK is back at the bullpen with VIVIAN, DANNY and MARTIN.)

VIVIAN: What, inviting you to a baseball game?

JACK: As a kid, I lived in Pittsburgh for a while. Roberto Clemente was my
favorite player.

MARTIN: How would Spaulding know that?

JACK: I'm not sure. The tech guys have the computer we found in his apartment.
Maybe they'll pull up something on the hard drive.

VIVIAN: Clemente died in his prime. Maybe it's a threat. Maybe he's telling
you that he's coming after you.

JACK: You know, Spaulding's been sitting in the Queensboro Correctional
Facility for six months for child molestation with nothing to do but think of
ways of getting even with me.

DANNY: For what? He's a free man. As far as I'm concerned, he won.

JACK: Not in his mind. What I did to Graham Spaulding was the worst thing that
you could do: I exposed him for who he was.

MARTIN: And you took Andy Deaver away from him.

DANNY: Exactly, he's a pedophile. If he wanted to get back at you, he just
take another kid.

VIVIAN: Or your kid. No offense, Jack, but what is he doing with a 35-year-old
woman?

JACK: He's copying an old crime.

VIVIAN: Why?

JACK: For the same reason that criminals copycat -- to feel superior, to make
us look bad.

MARTIN: He could have picked any case. Why Rockville?

JACK: Because of my involvement in it. Maybe he feels if he pulls this off, he
can even the score. Danny, I need you to go back to the Spaulding Academy and
see if anybody's heard from the old headmaster.

(DANNY turns and leaves.)

JACK: (continues) Viv, I need you to track the ball, and Martin, I need you to
go back to the Queensboro Facility Library. Find out everything that Spaulding
read in there.

MARTIN: All right.

(MARTIN turns to leave.)

CUT TO:



[INT. LOVITT RESIDENCE - KITCHEN]

(SAMANTHA puts a picture of GRAHAM SPAULDING down on the kitchen table for the
two older children to look at.)

SAMANTHA: Okay, guys, I want you to look at this picture and think of all the
places you might have seen him -- uh, school, the park, the mall ...

RYLAND LOVITT: We hate going in the mall.

SAMANTHA: (smiles) Yeah, me, too.

(NICHOLAS, the older son, looks at the picture.)

NICHOLAS LOVITT: We saw him.

RYLAND LOVITT: We did?

NICHOLAS LOVITT: Yeah. I-it was a couple of weeks ago. We were outside
playing basketball, remember?

(Quick flashback to: [EXT. LOVITT RESIDENCE - DRIVEWAY - DAY] NICHOLAS shoots
and misses the basket. He saunters forward to get the basketball.)

RYLAND LOVITT: (v.o.) Oh, yeah.

NICHOLAS LOVITT: Missed. Okay, that's an "O."

RYLAND LOVITT: No, it's an "R," 'cause you already had an "O."

(The basketball bounces toward the sidewalk. A man walking by puts his foot on
it to stop it from going onto the street. NICHOLAS turns around and teases
RYAN. He walks backward toward the ball.)

NICHOLAS LOVITT: "Horse" has two "O's" in it.

RYLAND LOVITT: No, it doesn't.

NICHOLAS LOVITT: Does when I play.

(NICHOLAS turns around and finds himself face to face with GRAHAM SPAULDING.)

GRAHAM SPAULDING: (casually) You have a terrific touch. Do you play on a
team?

NICHOLAS LOVITT: Yeah, at school.

GRAHAM SPAULDING: Let me guess -- uh, eighth grade.

NICHOLAS LOVITT: Seventh.

GRAHAM SPAULDING: Seventh grade? Well, you're a very mature young man for
seventh grade.

(Behind them, the front door opens and DORIS LOVITT walks out onto the porch,
SOPHIE in her arms as she calls her sons in for dinner.)

DORIS LOVITT: Boys-- dinner.

(RYAN runs toward the front door.)

RYLAND LOVITT: Mom, does "Horse" have two "O's" in it?

(DORIS laughs.)

NICHOLAS LOVITT: I have to go.

(NICHOLAS turns to head back into the house. GRAHAM SPAULDING calls him back.)

GRAHAM SPAULDING: Oh, wait.

(He holds out the basketball and throws it to NICHOLAS who catches it.)

NICHOLAS LOVITT: Oh. Thanks.

(GRAHAM SPAULDING smiles, turns and leaves.)

(End of flashback. Resume to present.)

NICHOLAS LOVITT: I'm sorry, I ... just didn't think it was that important.

(DAVE puts his hand on NICHOLAS' shoulder.)

SAMANTHA: It's okay, it's okay. Let me ask you, did you guys ever see him
again?

(RYLAND raises his hand.)

RYLAND LOVITT: I did.

SAMANTHA: Okay. I want you to tell me what you saw, Ryland.

RYLAND LOVITT: He drove by. And I remember because he waved at me.

(DAVE puts his hand on his son's shoulder.)

(RYLAND looks at SAMANTHA. She glances up at DAVE.)

SAMANTHA: (smiles reassuringly) Okay, great.

CUT TO:



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

LEGEND: 22 HOURS MISSING



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

(MARTIN walks into JACK'S office carrying a couple of file storage boxes. JACK
is sitting at his desk.)

MARTIN: Everything Graham Spaulding checked out of the Queensboro Library.

(MARTIN puts it down on the conference table at the back of the room. JACK
stands up to join him.)

JACK: Wow. You look at anything yet?

MARTIN: No, not yet. And I talked to the librarian. Sounds like Spaulding
really charmed her. He had her hunting down back issues of Law Enforcement
Bulletin.

(JACK opens a file box and looks inside.)

JACK: Did the tech guys pull up anything from the computer?

MARTIN: No. I think Spaulding was just using the computer to burn CDs.

CUT TO:



[INT. FBI - BULLPEN -- DAY]

(SAMANTHA is sitting at the conference table finishing up a phone conversation
when VIVIAN walks in.)

SAMANTHA: (to phone) Okay, thanks. Yeah, bye.

(SAMANTHA hangs up the phone.)

VIVIAN: I went to this sports memorabilia store in Rockville. The owner said
he recognized Spaulding. He'd been in there two weeks ago asking about the
Clemente ball. Said it was for a friend who was about to retire.

(VIVIAN sits down.)

SAMANTHA: I'm assuming he didn't leave an address or a contact number.

VIVIAN: Nothing.

SAMANTHA: Well, I just talked to forensics. The blood on those rags in
Spaulding's apartment wasn't blood. It was paint.

VIVIAN: He's a pedophile, then he's a copycat. So, now he's an artist?

(DANNY sits down in a chair and sighs.)

SAMANTHA: Hey, any luck at Spaulding Academy?

DANNY: You mean the future home of the Sunset Retirement Community?

SAMANTHA: He sold it?

DANNY: A week after the trial. No one's seen or heard from him since.

VIVIAN: What about the furniture?

DANNY: It's all gone. So is his car-- A '98 black Ford Explorer.

SAMANTHA: Was there any proof of sale on the car?

DANNY: Nope. I'll bet you if we find that car, we find Doris Lovett.

SAMANTHA: Yeah, but her son said he was driving a red car.

VIVIAN: Maybe he painted it.

CUT TO:



[INT. FBI - JACK'S OFFICE]

(The contents of the file boxes are spread out on the table. Various articles
with the headlines: "A MATTER OF TIME" or "MANHUNT CONTINUES FOR SERIAL
MURDERER". JACK holds an article in his hand. MARTIN is standing up looking at
the various articles posted on the red board next to JACK'S desk.)

JACK: Here's another article about the last victim. It's dated October 27,
1991. He has pulled every single article about the case. He knows everything
there is to know.

MARTIN: He knows everything about you.

(On the red board are various news articles and pictures of JACK.)

MARTIN: This isn't just Roberto Clemente. This guy's obsessed with you, Jack.

(JACK stares at the article in his hand with the headline: ROCKVILLE KILLER
STRIKES AGAIN.)

JACK: Remember I was telling you about the 1991 murders?

MARTIN: Yeah. The music, the makeup ...

JACK: Yeah. It was like Thorton wanted us there. Like he wanted an audience.

MARTIN: (thinking) Son of a bitch. Spaulding's going to do the same thing.

JACK: Yes, he is.

(Camera moves in slowly to the picture on the paper in JACK'S hands of the
warehouse.)

DISSOLVE TO:



[EXT. WAREHOUSE -- DAY]

(JACK, DANNY and MARTIN walk toward the warehouse.)

LEGEND: 30 HOURS MISSING

(Their guns are out. JACK opens the door.)

JACK: I want you guys to cover the perimeter.

MARTIN: (alarmed) You're going in alone?

JACK: Yup.

(DANNY turns and heads to the left. MARTIN hesitates for a moment, then turns
and heads for the right.)

(JACK walks into the warehouse, his gun out and pointed in front of him. He
cautiously checks behind the shelves as he moves closer to the center of the
warehouse.)

(JACK approaches the center of the warehouse and is mentally transported back to
1991.)

DISSOLVE IN MUSIC to Tchaikovsky's Arabian Danse from The Nutcracker Suite.

(Through the crack between the shelves, we see an empty chair in the middle of
the warehouse.)

CUE SOUND: WOMAN'S heavy breathing.

(The classical music gets louder.)

(JACK walks forward and looks through the wire mesh.)

(Quick flashback glimpse: Of a young woman dead in the chair in the center of
the warehouse.)

(JACK steps back and raises his gun.)

(A young woman is dead in the chair in the center of the warehouse.)

(JACK stops and stares at the chair through the wire mesh.)

(The music is loud and clear.)

(We see what JACK sees. In the center of the warehouse, a woman is dressed in
lingerie and sitting in the chair. She's dead. Next to her on a small wooden
box is a tape player.)

(JACK stares in front of him and takes a step forward.)

(Gun still drawn and out, he pushes the wire mesh gate open and slowly walks
toward the figure in the chair. His eyes are glued to the figure he sees.)

(Various cuts of the dead woman and the tape player.)

(JACK'S cell phone rings.)

(The woman's body flashes and disappears. JACK stares at an empty chair with a
small piece of jewelry in the center of the seat.)

(Flashes of the dead woman intersperse with the empty chair.)

(JACK'S cell phone rings.)

(JACK gets close enough that we can see the wedding band in the center of the
chair.)

(JACK'S cell phone rings again.)

(JACK looks around, then reaches into his pocket to answer the phone.)

JACK: (to phone) Yeah?

INTERCUT WITH:

[INT. FBI - COMPUTER ROOM - DAY]

VIVIAN: We got Spaulding on the line. He says if we don't put him through to
you in ten seconds, he's going to hang up.

JACK: Put him on.

VIVIAN: (to tech) Put him through.

(JACK doesn't say anything.)

GRAHAM SPAULDING: (from phone) (drawling) Jack? Is it really you?

JACK: (to phone) Graham, tell me where she is.

INTERCUT WITH:

[SPAULDING]

GRAHAM SPAULDING: What, no hello? You obviously never went to the Spaulding
Academy. We were very strict about manners there.

JACK: Graham, what do you want?

GRAHAM SPAULDING: (chuckles) God, I wish you could see the look on her face
right now, Jack. She is absolutely terrified. She knows about you being late
for the others, so, why should this be any different?

JACK: She's alive?

GRAHAM SPAULDING: Sure, she's right here. You want to talk to her?

JACK: Yes, I do. Put her on.

(GRAHAM SPAULDING takes the tape covering DORIS LOVITT'S mouth off.)

DORIS LOVITT: (crying) Please ...

GRAHAM SPAULDING: (prompting) Tell him.

DORIS LOVITT: Please help me.

GRAHAM SPAULDING: His name's Jack.

DORIS LOVITT: Help me, Jack.

[FBI]

TECHNICIAN: I got it. It's a cell phone coming from a microwave tower routed
through Nassau County.

SAMANTHA: Exactly how close is that to Jack?

TECHNICIAN: A good half mile.

DORIS LOVITT: Oh, god, please, please, Jack, he's going to kill me.

JACK: (to phone) Doris, listen to me.

(She sobs. SPAULDING pulls the phone away from her.)

JACK: (to phone) Listen to me. Stay calm. We'll do everything we can to get
you out of there.

CUT TO:



[EXT. WAREHOUSE - DAY -- CONTINUOUS]

(MARTIN'S phone rings. He answers it.)

MARTIN: Fitzgerald.

VIVIAN: Spaulding's on the phone right now with Jack, and he's close.
Immediate vicinity.

CUT BACK TO:



[SPAULDING]

GRAHAM SPAULDING: (amused) What, more broken promises, Jack?

JACK: What do you want, Spaulding?

GRAHAM SPAULDING: (shouts) This is what I want! What is happening right now!
Not the fifteen minutes that you never gave me, but right now.

JACK: Okay, tell me what I have to do to get her out.

GRAHAM SPAULDING: Well, that is the whole point, Jack. There is nothing that
you can do.

(DORIS LOVITT listens. JACK doesn't say anything.)

GRAHAM SPAULDING: I'd love to talk, but Doris and I have things to do.

(SPAULDING disconnects the line.)

JACK: Spaulding.

(Cut to: Outside the warehouse, DANNY reports in.)

DANNY: I don't see him.

(Cut to: From his side of the warehouse, MARTIN reports in.)

MARTIN: Nothing.

(JACK puts the phone down. Camera holds on JACK.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

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

LEGEND: 33 HOURS MISSING

JACK: (v.o.) We're never going to get any prints off this.



[INT. WAREHOUSE - NIGHT]

(JACK goes over the warehouse with MARTIN. Other officers are there.)

MARTIN: What's the deal with the ring?

JACK: It was Randy Thorton's signature. He used to remove the victim's wedding
ring before he killed them, and it was the one piece of information that we held
back from the press. The only people that knew about it were the agents working
on the case and the killer.

MARTIN: And now Spaulding.

JACK: Right. I think it's time that you paid Randy Thorton another visit
Downstate.

MARTIN: You got it.

(MARTIN turns to leave; DANNY walks up to JACK.)

DANNY: They found Spaulding's car up the street. Ford Explorer, painted red.
No sign of Doris. He was here, Jack.

(Camera holds on JACK.)

CUT TO:



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

LEGEND: 33 HOURS MISSING



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

(VIVIAN puts the NASSAU COUNTY telephone book down on the desk in front of JACK.
She immediately begins leafing through it to show JACK what she's found.)

VIVIAN: He left this on the front seat of the car right there so that we could
find it. So, he's not just looking for a middle-aged woman. He's looking for a
middle-aged woman by the name of Doris.

(She points to one circled in black for
RICHARDS DORIS 230 Del Monte ...

VIVIAN: He's circled every one.

(JACK looks up wryly. VIVIAN flips through the book to show more of them to
JACK.)

JACK: I can see that.

VIVIAN: Okay, so who's Doris? She wasn't one of the victims from the old case,
right?

JACK: (interrupts) I wouldn't waste too much manpower on this.

(VIVIAN looks at JACK as he closes the telephone book. He puts his hand on it
and pushes it toward VIVIAN. She picks the book up.)

VIVIAN: (reluctantly) Sure.

(Feeling shut out, VIVIAN leaves the office.)

CUT TO:



[INT. DOWNSTATE PRISON - CORRIDOR -- NIGHT]

(The SECURITY GUARD opens the door for MARTIN. RANDY THORNTON walks up to the
cell door to meet up with him.)

RANDY THORTON: You're early. I was supposed to call you tomorrow.

MARTIN: Oh, yeah, what about?

RANDY THORNTON: About this. Mr. Sherman left it for Jack.

(MARTIN glances down at the CD being slipped through the bars toward him.
MARTIN takes it and looks at it. On the cover, it reads: PHOR JACK.)

RANDY THORNTON: He arranged for one of the guards to hold it for me.

(RANDY chuckles.)

(MARTIN looks down at the CD and sighs. MARTIN turns and leaves.)

CUT TO:



[INT. FBI - COMPUTER/AUDIO ROOM -- NIGHT]

(MARTIN and VIVIAN stand behind JACK who slips the disk into the player.)

MARTIN: Jack, I already listened to this in the car. I really think you ought
to hear it alone.

(VIVIAN watches JACK carefully.)

JACK: No, I want you to stay.

MARTIN: You sure?

JACK: Yeah.

(The cd starts: Tchaikovsky's Arabian Dance from The Nutcracker Suite plays.)

GRAHAM SPAULDING: (on cd) (v.o.) Sound familiar, Jack? It's actually a very
simple piece of music. I would've chosen something more operatic. Say ...
Wagner. Oh, it's obvious that, uh, I have a little more flair than that
imbecile you put away. How does it feel? To be so close, to have someone's
life in your hands, knowing that with each passing second she's dying, and a
part of you is dying, too?

(Dissolve over: GRAHAM SPAULDING talking into the mike as he records the CD on
the right side of the screen. JACK remains on the left half of the screen.)

GRAHAM SPAULDING: (on cd) (v.o.) A part of you dies every day on this job,
doesn't it, Jack, because you can't save them all. You need to save them all,
don't you, because you couldn't save her. God, that must've been so hard.
(voice over sound sharpens and clears) Sixteen years old, losing your mother
like that. You know, that explains a lot. You're clearly a troubled man, Jack,
and now I know why.

(Camera moves in close to JACK who now fills the screen. GRAHAM SPAULDING'S
voice sounds as clear as if he were in the room with him.)

GRAHAM SPAULDING: (on cd) (v.o.) I wonder, though, do you ever lie awake at
night wondering "what if?" What if you'd been a better son, a little smarter, a
little better behaved?

(JACK takes a breath and looks away.)

GRAHAM SPAULDING: (on cd) (v.o.) Maybe she'd still be alive.

(MARTIN turns away from JACK and looks at VIVIAN, their eyes meeting briefly
before she turns to look at JACK again.)

GRAHAM SPAULDING: (on cd) (v.o.) Maybe she wouldn't have killed herself.
And you wouldn't be walking around with your little secret.

(The music continues. Finally, JACK gets up and leaves. MARTIN reaches out and
turns the CD player off. Neither person left in the room says anything.)

CUT TO:



[EXT. FBI - BULLPEN BALCONY -- NIGHT]

(VIVIAN walks outside the balcony and joins JACK. His arms are against the
railing as he looks out at the city lights.)

(VIVIAN sighs. She turns and looks at JACK. Understanding just a small part of
it and needing him to explain the rest. After a moment, he blinks a couple of
times, wondering where to start.)

JACK: (quietly) I came home from school one day when I was sixteen. There was
nobody home, so, I just sat on the couch and I watched tv. I sat there for
hours. It wasn't until my father came home that we realized something was
wrong.

(Quick flashback to: Flashes of various angles of the car exhaust pipe.)

(cc) YOUNG JACK: (echoing ) Mom!

(A hose is attached to the exhaust. End of flashback. Resume to JACK.)

(JACK stares out in front of him, remembering.)

(Quick flashback to: Flashes of various angles of the hose leading to the
opening crack in the window and inside the car where JACK'S mom sits.)

(cc) YOUNG JACK: (echoing ) Mom! Mom!

(End of flashback. Resume to JACK.)

JACK: (continuing) We went in the garage and the motor was running. All the
windows were rolled up except for the one where she put the ... put the hose in.

(VIVIAN quietly listens.)

JACK: My mother's name was Doris.

VIVIAN: Jack, I see the way you walk around here and ...

JACK: Oh, Viv ... I'm fine.

VIVIAN: Really?

JACK: Yeah. Check with forensics, and, uh, see if they've come up with
anything on Spaulding's car.

VIVIAN: (nods) Sure.

(VIVIAN turns and walks away leaving JACK at the railing. JACK looks back out
at the city lights only this time, his eyes harden a bit.)

CUT TO:



[INT. FBI - BULLPEN -- NIGHT]

(SAMANTHA walks into the office.)

SAMANTHA: Hey.

MARTIN: Hi.

(She joins MARTIN at the conference table.)

SAMANTHA: Anything new?

MARTIN: Nope. I just keep coming up empty.

SAMANTHA: How's Jack doing?

MARTIN: I don't know. I've got to tell you, it was really, uh ... (unable to
find the words, he shakes his head) ... just be glad you weren't there.

(MARTIN looks up. DANNY walks into the office and joins them.)

DANNY: Just got off the phone with Sotheby's. I had them track down every
Clemente ball sold over the last six months. There was only two. One in Texas,
and one at an art gallery in Tribeca.

(At the mention of the art gallery, it sets SAMANTHA thinking.)

MARTIN: An art gallery?

DANNY: Apparently, Spaulding had the owner track a ball down all the way in
L.A. He bought it on consignment. He paid three grand for it.

MARTIN: So, Spaulding's in the city.

SAMANTHA: Okay, wait a second. Where in Tribeca is the art gallery?

DANNY: Duane.

SAMANTHA: Duane and what?

DANNY: Duane and Church.

(SAMANTHA turns and looks at MARTIN.)

MARTIN: What is it?

SAMANTHA: That's two blocks from where Jack lives. Spaulding's right in his
backyard.

(MARTIN and SAMANTHA turn and head out.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

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

LEGEND: 36 HOURS MISSING



[INT. FBI - CORRIDOR OUTSIDE BULLPEN - NIGHT]

(Camera moves slowly across the offices and settles on JACK and VIVIAN in the
hallway outside the bullpen. JACK is leaning against the wall while VIVIAN is
sitting in the hallway chair.)

VIVIAN: (looking up at him) So, Jack, what do you want to do?

JACK: What do I want to do? I don't know.

(Thinking.)

JACK: I want him to make a mistake. I-I want ...

(Thinking.)

JACK: I have to get him to call us.

VIVIAN: How?

(He thinks about it and comes up with a plan.)

JACK: I'm going home.

VIVIAN: (puzzled) Home, Jack?

JACK: Yeah. If I can make him think that I've quit, maybe it'll piss him off
enough to make him call me.

VIVIAN: Okay, but how are we going to let him know that you quit?

JACK: I'm pretty sure that he's watching. But just in case he's not, you're
going to issue a statement to the press. We've got enough time to make the
11:00 news.

VIVIAN: I'm on it.

(VIVIAN stands up.)

CUT TO:



[TV MONITOR]

(On screen, the camera follows JACK walking toward CHIEF JOHN CASEY, SAMANTHA is
nearby. It's the scene from the teaser from a different angle.)

REPORTER: (from tv) Once again, to recap our top story from tonight, ...

(The television set is on. MARIA/E gives the agent a cup of coffee.)

AGENT: Thank you, Mrs. Malone.

(She rushes back to the television set to watch the report. She picks up the
remote and turns the volume up.)

REPORTER: (from tv) ... The lead agent in the FBI's efforts to locate missing
Rockville housewife Doris Lovett has announced he is stepping away from the case
and taking a medical leave.

(The front door unlocks.)

REPORTER: (from tv) Jack Malone, who twelve years earlier, was involved in the
Rockville ...

(MARIE/A turns the television off when she sees the door open and JACK walk into
the room. She puts the remote down and heads toward him.)

JACK: Hey.

MARIE/A: Hey.

(She gives him a hug. He hugs her back.)

JACK: Mmm.

CUT TO:



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

LEGEND: 37 HOURS MISSING



[INT. JACK'S RESIDENCE -- NIGHT]

(MARIE/A walks into the room. JACK is sitting on the couch, his head back
against the rest.)

MARIE/A: The girls are asleep.

JACK: Good.

(MARIE/A walks around the couch and sits on the sofa.)

MARIE/A: Do you want to talk about this?

JACK: I think you know pretty much all there is to know.

MARIE/A: Maybe you should take a real break.

JACK: Yeah, maybe I should.

MARIE/A: I just hate what this job does to you.

JACK: Right.

MARIE/A: Sometimes, I think that it's the only thing that you really live for.

(He looks at her and hears it in her voice. He reaches for her.)

JACK: Come here.

(MARIE/A settles next to him, her head resting on his chest.)

JACK: That's not true.

(The phone rings. MARIE/A looks at JACK, they both know it's for him. She gets
up and he reaches for the phone.)

JACK: (to phone) Malone.

INTERCUT WITH:

[SPAULDING]

GRAHAM SPAULDING: Should I be worried?

(JACK gets to his feet.)

JACK: Graham?

CUT TO:

[INT. FBI - COMPUTER ROOM - NIGHT]

(The computer technician immediately starts to trace the call while VIVIAN and
DANNY stand nearby watching.)

GRAHAM SPAULDING: (from phone) Heard about your "medical leave". How are you
feeling?

(JACK paces the room floor.)

JACK: Uh ... I'm fine.

(MARIE/A watches JACK.)

GRAHAM SPAULDING: Well, I must tell you, Jack, I'm disappointed. I thought you
had more in you.

JACK: (shrugs) Why, you got what you wanted. You won. You won the game.

GRAHAM SPAULDING: Yeah, well, it's no fun if the other team forfeits.

JACK: I didn't realize that my job was a source of your amusement.

GRAHAM SPAULDING: No, your job is 'saving lives', remember? You know, I'm
still moved by that "I save people. It's my job" speech you gave so eloquently
in court. What happened to that, Jack? Please don't tell me that in the end
you're nothing more than a spineless hypocrite.

(Cut to: The monitor zeroes in on the source of the phone call as coming from
New York.)

TECHNICIAN: He's close.

VIVIAN: (sighs) We know that already.

TECHNICIAN: Within ten square blocks.

(The monitor zeroes in closer on the area of the source of the phone call.)

VIVIAN: (irritated) We know that, too.

DANNY: (insistent) We need an exact location.

TECHNICIAN: (steady) I'm doing the best I can.

(The monitor works on tracing the phone call.)

[JACK]

(JACK continues to talk with SPAULDING.)

JACK: Is it worth it, Graham? I mean, am I worth it? I mean, you don't even
like women.

GRAHAM SPAULDING: (amused) Oh, you'd be surprised.

(There's a moment of silence.)

JACK: So what do you think is going to happen? Where do you think this is
going to end up? I mean, uh, ... what do you do after this is over?

GRAHAM SPAULDING: (lightly, whimsically) Oh, this is just the beginning for
me. After this, I'm going out west, start a new life ... go back to my old
ways. What about you? What are you going to do with yourself now? Pace around
your apartment for the rest of your life? Fret about your lovely wife? Your
daughter's? You know, if I had wanted them, I would have already taken them,
but that would have been too easy.

(JACK glances up at MARIE/A who moves to the doorway to the next room, she looks
at JACK as she goes. Through his window, GRAHAM SPAULDING can see JACK running
his hand through his hair as he's on the phone.)

GRAHAM SPAULDING: Ah, poor Jack, living with all this stress.

(From SPAULDING'S POV, we see that he's looking out through a window to the
window of JACK'S apartment.)

GRAHAM SPAULDING: I wonder, is it the job, or is it your whole miserable
existence?

(JACK's very quiet.)

GRAHAM SPAULDING: Well ... I have to go. Feel better.

(SPAULDING hangs up the phone.)

(JACK hangs up and immediately starts re-dialing. MARIE/A watches concerned.)

MARIE/A: What is going on?

JACK: (to MARIE/A) Just hang on a second. (to phone) Vivian, it's me. He's
in the building across the street from where I live.

CUT TO:



[EXT. BUILDING NEXT TO JACK'S -- NIGHT]

(The building fire alarm rings. People are being evacuated from their
residences. SAMANTHA walks through the hallway toward a door.)

SAMANTHA: (to radio) Clear, "A", "B", "G".)

(SAMANTHA knocks on the door.

[DANNY]

DANNY: (to radio) "A" is clear.

(He checks in an apartment and looks down the hallway.)

DANNY: (to radio) So's "B".

[HALLWAY]

(There are multiple agents assisting the evacuation of the building. JACK walks
up to an agent.)

JACK: We're all clear?

AGENT: Yes, sir.

[SAMANTHA]

(SAMANTHA makes her way down the hallway toward apartment 2B. She looks around
at all the people leaving.)

SAMANTHA: (to radio) "B" is clear.

[DANNY]

(DANNY walks out of an apartment and looks both ways down the hallway.)

DANNY: (to radio) "G" is now clear.

CUT TO:



[JACK]

(JACK takes out his gun and walks cautiously down the apartment - past 4C. He
heads toward 4B and leans in to check the door. It's locked. He moves on to
the next apartment.)

(He turns and raises his gun at the door for 4A. He knows that this is the
one.)

(JACK holds for a moment, preparing himself to enter the apartment.)

(JACK moves. He kicks the door in and finds GRAHAM SPAULDING standing in front
of the open window.)

(GRAHAM SPAULDING turns around and calmly looks at JACK.)

JACK: Where is she?

GRAHAM SPAULDING: Jack, you're a lot smarter than I gave you credit for. I
thought I was going to make it out of here.

JACK: Yeah, well, you were wrong. Where is she?

GRAHAM SPAULDING: Not here. But she'll be joining your mother soon enough.

JACK: I don't think so.

GRAHAM SPAULDING: Come on, Jack. Put the gun down. We both know you're not
going to shoot me.

(SPAULDING takes his hands out of his pockets and casually sits down on the edge
of the open window.)

GRAHAM SPAULDING: You like me too much. Besides, you'll never find her if you
did.

(JACK puts his gun down.)

JACK: Listen, Graham ... we both know that this is over. The only way that you
can avoid the death penalty is to tell me where Doris is.

GRAHAM SPAULDING: You know it's backfiring, Jack.

JACK: What's backfiring?

GRAHAM SPAULDING: The death penalty or life in prison. Tell you the truth,
Jack, I don't think I have the constitution for either.

(beat)

GRAHAM SPAULDING: Guess we both lose.

(GRAHAM SPAULDING turns and falls backward out of the open window. JACK dives
forward to stop him.)

(As SPAULDING flips over the window's edge, JACK reaches out and grabs his hand.
On the ground below, people scream at the sight.)

(JACK struggles to hang on; SPAULDING struggles to let go. They both grunt in
pain.)

GRAHAM SPAULDING: I know how your mother died, Jack.

(JACK tries to hold on to SPAULDING.)

GRAHAM SPAULDING: That must have been a real bitch.

LYRICS:
One of these mornings / won't be very long

(Using both his hands, he works to get free of JACK.)

GRAHAM SPAULDING: You can't save everyone, Jack.

(It's terse, JACK continues to struggle to hold on to SPAULDING, but his hands
are slipping.)

LYRICS:
you will look for me / and I'll be gone

(Finally, SPAULDING slips through and falls backward to the ground below as JACK
watches.)

LYRICS:
one of these mornings / won't be very long / you will look for me

(JACK stares at SPAULDING'S body dead on the ground. OFFICERS and other
personnel surround SPAULDING.)

(JACK pushes himself up from the window ledge, thinking about what SPAULDING
said.)

(cc) GRAHAM SPAULDING: I know how your mother died ... (echoing) ... Your
mother died ... mother died...

(Quick flashback to: [GARAGE] JACK'S mother sits in the car as she floods the
inside of the car with exhaust. End of flashback. Resume to JACK.)

LYRICS:
and I'll be gone ...

[JACK]

(Quick flashback to: [GARAGE] Camera zooms around his mother's car - from the
crack in the window, to the hose, to the exhaust. End of flashback. Resume to
JACK.)

(JACK suddenly puts all the pieces together. He turns and runs as fast as he
can out of the apartment, into the hallway toward the stairwell. He knows how
SPAULDING'S going to kill DORIS.)

LYRICS:
One of These Mornings / won't be very long (music continues to end of scene)

CUT TO:



[EXT. STREET - NIGHT -- CONTINUOUS]

(Various cuts of the confusion on the street outside. People are shouting, car
horns honking, and sirens sound in the background. General things are happening
outside when people think the action is going on inside the building.)

(The stairwell door bursts open and JACK runs out of the building. He looks
around and starts to yell out instructions.)

JACK: (shouts) Check the cars!

(He starts moving toward the line of cars parked along the street curb.)

JACK: Check the cars! Check all the parked cars on the block!

(Knowing what he's talking about and its relevance, VIVIAN picks it up and tells
the others the specifics of what to look for.)

VIVIAN: (instructing) She's in one of the cars with the motors running.

(She starts backing away from the group to help with the search.)

VIVIAN: (shouts) Find her!

(VIVIAN turns around and starts running down the street looking at the parked
cars. SAMANTHA and DANNY also start running down the street toward the parked
cars.)

(Cut to: JACK runs along the parked cars looking in every single car that he
passes by.)

(Cut to: MARTIN runs along another set of parked cars looking inside.)

(Cut to: JACK continues to run along side the parked cars desperately looking
for the one with DORIS inside.)

(Cut to: SAMANTHA looks inside a parked car. She sees that it's empty and runs
to the next car.)

LYRICS:
One of These Mornings ...

(Cut to: JACK runs past the long line of parked cars, checking each one.)

(Cut to: VIVIAN runs across the street to look at the next line of parked
cars.)

(Cut to: DANNY runs to the next car and puts both his hands on the hood to
check whether the engine is running.)

(Cut to: JACK runs and runs and runs past the endless line of parked cars
checking every single one along the way.)

(Cut to: Camera moves in slowly toward a black parked car, new york license #
WNY 82K5. The engine is running and a hose is taped to the exhaust pipe.)

(Cut to: JACK turns the corner and starts on a new line of parked cars.)

(Camera angles on the black parked car with the engine running. JACK is fast
approaching the car as he checks the cars parked in front of it.)

(He runs to cross the street, but stops when the exhaust smoke from the running
engine catches his eyes. He stops and looks at the car's exhaust pipe.)

(With one smooth motion, he pulls the hose from the exhaust pipe and tries to
lift the trunk open. He circles around to the driver's side of the car, breaks
the window with his gun and pops the trunk open.)

(JACK opens the trunk and DORIS LOVITT looks up at him.)

JACK: (quietly) It's all right, Doris, we got you.

(JACK tends to her. She's coughing, scared, and alive.)

(DANNY and MARTIN approach the car.)

DANNY: Got her!

MARTIN: (motions for help) (shouts) Get a medic down here now. Let's go! On
the corner of Warren and Greenwich.

(JACK reaches into the trunk and picks DORIS up. He looks up and sees SAMANTHA
with the medics approaching them.)

(The medics push the gurney toward him and he puts DORIS down on the gurney.
SAMANTHA stands nearby. VIVIAN approaches the gurney. The medics tend to
DORIS.)

(JACK stands on the side watching.)

(As the medics leave, SAMANTHA and VIVIAN accompany them.)

(Camera holds on JACK, quiet, unmoving, disheveled, stunned, and emotionally
intense. It's over.)

(Cut to: Camera top view of GRAHAM SPAULDING dead on the sidewalk. As we
watch, JACK walks up to the body. He looks up at the camera, then back down at
GRAHAM SPAULDING. After a long moment, JACK turns and walks away.)

LYRICS:
One of These Mornings / won't be very long / you will look for me ...

CUT TO:



[INT. JACK'S RESIDENCE -- NIGHT]

(There's one more officer inside the room, but he's about to leave. JACK opens
the door for him.)

JACK: Thanks.

OFFICER: Good night, Jack.

(The OFFICER leaves. JACK closes the door behind him and locks it. He turns
and walks back toward MARIE/A. She's sitting on the couch with a blanket
wrapped around her. JACK makes his way toward the couch.)

JACK: You okay?

MARIE/A: Yeah. How about you?

JACK: Yeah, I'm fine.

(He sits down on the couch and looks at her.)

JACK: (softly) I don't know. I keep thinking about ... my mother. It wasn't
the first time she tried.

(MARIE/A looks at JACK, she shakes her head slightly.)

MARIE/A: What are you talking about?

(He looks away from her wondering how he's going to explain something he's never
shared with her before. He sighs.)

JACK: Killing herself. (He looks at her) It wasn't the first time.

(He takes a deep breath.)

JACK: Three months earlier, I had, uh ... walked into the garage, and ...

(His voice breaks as the words tumble out from him.)

JACK: ... and the car was running and she was inside the car, and she was
crying.

(He stops and takes the time to regain some control over his ragged emotions.)

JACK: (rambling) And she made me promise not to tell anyone. So I didn't. I
wanted to. I thought about it, you know? I was going to tell my father, but
... (he swallows) ... you know what he's like.

(He stops again, tears rolling down his face from the memories ... from the
guilt.)

JACK: She told me that she wouldn't ... do it again. I believed her.

(MARIE/A moves closer toward JACK.)

MARIE/A: Oh, god ... Of course you did. You were a kid.

(JACK looks at her.)

JACK: Yeah, I know. I just, uh ... (confesses) ... I just miss her sometimes.

(MARIE/A reaches out and lightly caresses his cheeks. JACK takes a breath. She
looks away for a moment, then turns back to him.)

MARIE/A: Come on. Let's go to bed, all right?

(He looks down.)

JACK: Yeah, okay. (He looks at her) I'll be there in a minute.

(She looks at him, then moves forward and kisses him on the cheek.)

MARIE/A: Oh ...

(JACK closes his eyes. She moves away and he kisses her hand. She looks at
him. He takes a breath, then she gets up and leaves.)

(JACK watches her go.)

(Cut to: Camera holds on a top angle view of JACK sitting alone on the sofa in
the middle of the room.)

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
2X05: COPY CAT
ORIGINAL AIR DATE ON CBS: 10/30/2003
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
CONOR O'FARRELL as Graham Spaulding
CLAIRE RANKIN
PAUL ADELSTEIN

TALIA BALSAM as Marie/a Malone
SCOTT ALLAN CAMPBELL

SEAN MARQUETTE
KEITH BRUNSMAN

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

Executive Producer: JONATHAN LITTMAN

Written by: JENNIFER LEVIN
Directed by: TIM MATHESON

========================
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

***

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:11/01/2003~lky
http://www.webphilia.com/~anthology/wnp.html