Without A Trace
4.10 - "When Darkness Falls"
Original airdate on CBS: 12/08/05
Transcribed from CBS
Written by: DIEGO GUTIERREZ, HANK STEINBERG
Directed by: JEFF THOMAS
Transcribed for www.twiztv.com by Elise B.
Contact the transcriptionist at [email protected]
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DISCLAIMER:
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"WITHOUT A TRACE" and other related entities are owned, (TM) and (c) by JERRY BRUCKHEIMER Television, CBS Productions, and Warner Bros. Television (an AOL Time Warner Company). All Rights Reserved. This transcript was made without their permission, approval, authorization or endorsement. For Fair Use, for entertainment and for educational purposes only. Any reproduction, duplication or distribution of this material in any form is expressly prohibited. It is absolutely forbidden to use it for commercial gain.
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SUMMARY:
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As a favor to a friend who works at a mental ward, Sam helps a woman who was brought in suffering from amnesia. Meanwhile, Jack learns that his dad is experiencing kidney failure.
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TRANSCRIPT:
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FADE IN
[Ext: New York City (stock) - night]
[Int: patrol car (moving) - night]
Cop #1: Hey. It's 30 degrees out there, man.
Cop #2: Yeah. No wonder nobody's out. Oh, wait. What's that over there.
(They pull over the car, sounding the siren once. A young woman walks down the sidewalk, dressed only in a spaghetti-strap party dress.)
Cop #2: (out the window of the car) Hey, the party's over sweetheart. Hey, lady. Party's over.
(They both get out of the car.)
Cop #1: Excuse me, miss.
Cop #2: Hey lady! What are you doing?
(The girl, CARMEN, finally slows to a stop, but still doesn't acknowledge them. She turns to look at her reflection in a store window. She is dirty and bruised.)
Cop #1: Ma'am, it's below freezing out here. Do you need a lift home?
Cop #2: Been out tonight? Partying? Getting a little too crazy?
Cop #1: Hold on a second, ma'am.
CARMEN: I have to go.
Cop #1: Hold on. Ma'am.
(He reaches out for her arm. She turns and starts swinging at him.)
CARMEN: Let go of me!
Cop #1: Hey! What are you doing?
Cop #2: Relax!
(Cop #2 pins her hands behind her back and pushes her up against the glass door of the storefront.)
Cop #1: Where is your ID, lady?
CARMEN: I don't know!
Cop #1: Where is your ID?
Cop #2: What's your name, lady? (He handcuffs her.)
CARMEN: I don't know. I don't know!
CUT TO:
[Int: FBI offices - Jack's office - day]
(JACK sits at his desk, on the phone.)
JACK: Hm. I talked to him last week. Well, when was his last treatment. (He raises his eyebrows in response.) Okay. Yeah, I understand. Yeah, I'll be right there.
(As he hangs up the phone, SAMANTHA enters the office.)
SAMANTHA: Jack, can I talk to you for a sec?
JACK: Sure.
SAMANTHA: I just got a call from a friend of mine in Social Services. She's got a girl over at Cityview Psychiatric who has no ID, no recollection of who she is, where she came from.
JACK: She's an amnesiac?
SAMANTHA: Yeah.
JACK: And this qualifies her as a missing person how?
SAMANTHA: It would be a favor.
JACK: You don't need me. Knock yourself out.
SAMANTHA: I'm just going to do a prelim. If there's nothing I can do, I'll come right back.
JACK: Okay.
SAMANTHA: Thanks.
CUT TO:
[Int: Cityview Psychiatric Hosptial - corridor - day]
(SAMANTHA is talking with her friend in Social Services, LAURIE HUGHES.)
LAURIE HUGHES: She came in five nights ago. Perfectly normal when you talk to her. Knows who's president, who Madonna is, what 9/11 was.
SAMANTHA: But nothing about herself?
LAURIE HUGHES: Zero.
(An orderly opens a gated door to allow them into the common room.)
LAURIE HUGHES: That's her over there. Doctor said it could be triggered by some intense emotional trauma. The amnesia develops as a defense mechanism.
(She points out CARMEN, sitting with her knees tucked up, against the wall of the room, away from the other patients.)
LAURIE HUGHES: The nurses nicknamed her 'Donna'.
SAMANTHA: Why?
LAURIE HUGHES: She had on Donna Karan perfume.
SAMANTHA: Oh.
LAURIE HUGHES: And she's in good health. Her CT scan was clean. She's been tested for dementia, intoxication, all symptoms of neurologic disorder - all negative.
SAMANTHA: Do you think she could be faking it?
LAURIE HUGHES: I doubt it. A lot of people get here, starving, looking for three huts and a cup. But she was clean and well-fed. I've been doing this for a while, Sam, and she's not like any of my other cases. She doesn't belong here. Somebody out there has to be missing her.
FADE OUT
END OF TEASER
TITLE CREDITS
[COMMERCIAL BREAK]
FADE IN
[Int: Cityview Psychiatric Hospital - common room - day]
(SAMANTHA approaches CARMEN, who is crouched on the ground, working intently at something.)
SAMANTHA: Hi. My name's Samantha Spade, I'm...
(SAMANTHA notices that the paper cups CARMEN has upside down on the floor are moving.)
SAMANTHA: Is there something that I could possibly call you?
CARMEN: My name would be great.
SAMANTHA: (Another one of the cups moves.) What are those?
CARMEN: Cockroaches.
SAMANTHA: What are you doing with them?
CARMEN: Categorizing. There are four species of roaches in New York. This dump has three.
SAMANTHA: How do you know that?
CARMEN: That's what I'm trying to figure out. I thought that if I followed it through, maybe I might remember something.
SAMANTHA: Any luck?
CARMEN: I'm still stuck in this dump, so what do you think?
SAMANTHA: Okay. I'm going to need to go over some details with you. Um...(She gets out her notepad and pen.) Cops said they picked you up on the lower east side. Do you remember that?
CARMEN: I already the other doctors this like ten times.
SAMANTHA: I'm not a doctor. I'm a Federal Investigator. I work missing persons cases. We may have you in our system.
CARMEN: (scoffing) System.
SAMANTHA: Alright, look. Here's the thing. I'm here as a favor. If you want to figure out who you are, I can probably help you. If you don't, I'm done here. (Still no response.) Okay.
(SAMANTHA gets up to leave. CARMEN reconsiders.)
CARMEN: It's all vague and patchy. I remember waking up on the street.
FLASHBACK TO:
[Ext: New York city street - day]
(CARMEN wakes up, flat on the pavement. She stumbles up, now wearing a coat over her dress.)
CARMEN: (v.o.) I started walking. I remember there being a newstand.
(She runs into a man walking the other direction.)
MAN: Watch it, lady!
CARMEN: (v.o.) I realized I was lost.
END FLASHBACK. RESUME TO PRESENT.
(SAMANTHA comes back to sit across from CARMEN.)
CARMEN: I couldn't recognize a single thing.
SAMANTHA: Do you remember any, ah, distinguishing things about this newstand, around the newstand? Anything like that?
CARMEN: (shaking her head) Nope. It's like having a word at the tip of your tongue, but it's not a word, it's your entire life. It's been five days already. Why hasn't anybody come to find me?
SAMANTHA: They probably don't know where to look.
(This idea sobers her. SAMANTHA glances across the room at LAURIE, who is observing from across the room.)
SAMANTHA: Could you excuse me for a minute? This is a really good start.
(CARMEN nods. SAMANTHA gets up and walks over to LAURIE.)
SAMANTHA: Excuse me.
LAURIE HUGHES: Well, what do you think?
SAMANTHA: What happens to her if I can't help her?
LAURIE HUGHES: No money, no relatives. She'll be sent to a group home. And with no therapy to help her remember, she'll get lost in the system. (SAMANTHA sighs.) Sam, I know you're going way out on a limb here, but I could really use your help with this one.
SAMANTHA: Alright. I'm gonna head back to the office. I'm gonna run it by the other agents. I'm gonna see how far we can take it.
LAURIE HUGHES: Thanks. Really.
SAMANTHA: Sure.
(SAMANTHA leaves. LAURIE turns back to observe CARMEN, who is still crouched on the floor alone.)
CUT TO:
[Int: elderly care facility - JACK's father's room - day]
(There are pictures, postcards, photo albums, and other nostalgia covering the floor. JACK's dad is sitting on the floor, going through a box. He finds a ring, and holds it carefully, as his hands shake. There is a knock at the door.)
MR. MALONE: Come in.
(JACK enters and sees his dad staring at the ring. He closes the door and tosses his jacket onto the couch.)
JACK: What the hell is going on here?
MR. MALONE: I'm just sorting through some things here.
JACK: I just got a call from the hospital. They say you're suffering from kidney failure and that you're refusing treatment.
MR. MALONE: I already talked to the other doctors. I don't need a second opinion, so thank you very much.
(He's at a loss for a moment, then speaks quietly.)
JACK: Dad, it's me. It's your son, Jack.
MR. MALONE: Oh, Jack. Oh...
(He tries to get up. JACK moves over to help him.)
JACK: Look, by refusing dialysis, you could be dead in a couple of days. Do you have any idea what you're doing?
MR. MALONE: (shoving Jack off) I don't need your help!
JACK: What the hell is wrong with you?
MR. MALONE: What do you want from me?
JACK: What is going on?
(JACK's dad sits in his armchair. JACK walks over and sits on the couch across from him.)
MR. MALONE: I don't see any reason in sticking around anymore, alright?
JACK: Oh, please. Will you just spare me the dramatics?
MR. MALONE: I'm wasting away here. (JACK scoffs.) I'm losing my mind half the time. I see my grandkids once a year, you stroll in here every couple of weeks. All we do is fight. What the hell do I need it for?
JACK: Why didn't you call me?
MR. MALONE: Why? So you can try to tell me what to do?
JACK: I don't tell you what to d... What the hell were you going to do? Just curl up in a ball and die on the floor?
MR. MALONE: No. But I'm going out with as much dignity as I have left. Besides, it's not your problem.
(He gets up and walks into the kitchen, holding his back. JACK looks away.)
JACK: (under his breath) Like hell it isn't.
CUT TO:
[Int: FBI offices - tech room - day]
(ELENA strides into the office.)
ELENA: Hello, Mack. Anything yet?
MACK: Ah, no. Not exactly. But I did narrow down the MP files based on gender, age, you know.
ELENA: Okay.
MACK: That left me with over a thousand candidates for facial recognition.
(The facial recognition software is running on the computer, using the picture taken of CARMEN at the hospital.)
ELENA: How far back are you going?
MACK: Two years.
ELENA: Focus on the last two months, alright? And you see that? Her roots are very dark. So let's do brunettes before any other hair color. Can you do that for me?
MACK: I sure can.
ELENA: Excellente.
CUT TO:
[Int: FBI offices - corridor - continuous]
(ELENA exits the tech room into the hallway, where MARTIN catches her.)
MARTIN: Elena.
ELENA: Yup.
MARTIN: How's it going in there?
ELENA: Slow and steady. You know how it is. Is Jack here?
MARTIN: I haven't seen him. Why?
ELENA: Are we supposed to be treating this like a real case?
MARTIN: (He smiles.) I guess. I mean, theoretically, she could be a missing person.
ELENA: Ah.
MARTIN: I got a description of her clothes. Does it mean anything to you? Dress by Nicole Miller, shoes by Manolo Bl...Blahnik.
ELENA: (laughing) It's expensive and Italian. She's not poor, this girl.
(They come to a stop in the Bullpen.)
ELENA: Here's what I think. She went out on a date. The guy raped her, and she ran.
MARTIN: Well, that could be enough to trigger the amnesia.
ELENA: I ran her prints in DMA, DMV, and the Victim's Database. Got nothing.
MARTIN: Well, I've got a couple local tv stations running her picture, so maybe we'll get a hit that way.
ELENA: I hope.
(They split up to go to their respective desks.)
CUT TO:
[Int: elderly care facility - corridor - day]
(JACK is discussing his father with DR. RAKER.)
DR. RAKER: As you know, the Alzheimer's is progressing at a pretty fast clip. His dementia's worse. Last week he had a bladder infection.
JACK: Yeah, I understand all that. I just wondered, could we have him declared incompetent?
DR. RAKER: You can.
JACK: (Sighs) Um, can you draw up the document for me?
DR. RAKER: You want to force him to get treatment?
JACK: Look, he's in no condition to make this decision himself. I'm going to need the document as soon as possible so I can get it to my lawyer.
DR. RAKER: I'll be back in a few minutes.
JACK: Thank you.
(They stop at a doorway. DR. RAKER goes the other direction down the hall.)
CUT TO:
[Int: elderly care facility - MR. MALONE's apartment - continuous]
(JACK enters to see his dad putting on his military uniform. MR. MALONE struggles with the epaulets.)
JACK: What's going on?
MR. MALONE: Give me a hand with this, would you?
JACK: What's all this?
MR. MALONE: It's the biggest day of my life. I want to look good. What do you think, huh?
(JACK hesitates, unsure what his dad is thinking at the moment and what he should say.)
MR. MALONE: Come on! How do I look?
JACK: You look handsome.
MR. MALONE: (smiles widely) Thank you. Did I show you the ring?
JACK: No.
MR. MALONE: Let me show it to you. (He digs in his pockets and pulls out the ring he was looking at earlier.) Here.
JACK: It's...it's beautiful.
MR. MALONE: You think she'll say yes?
JACK: I'm pretty sure she will, yeah.
MR. MALONE: You know, she's the best thing that ever happened to me.
JACK: Really?
(MR. MALONE turns to the mirror and goes back to fixing his uniform.)
MR. MALONE: Yeah. Did I ever tell you how we met?
JACK: No. Here. Let me help you with that.
(JACK begins attaching the epaulets.)
MR. MALONE: Yeah, because, you know, I'm so nervous.
JACK: Just stand still. I'll do this. So, um, so tell me.
MR. MALONE: Tell you what?
JACK: How you met. How you and mom met.
MR. MALONE: Mom?
JACK: Yes, your wife, Doris.
MR. MALONE: I'm not going to talk about that. That's personal.
(JACK shakes his head. MR. MALONE turns away from the mirror, but JACK stops him from leaving.)
MR. MALONE: Look, where's the car? Because I don't want to be late.
JACK: You know what? The car, the car is coming around the front. Why don't we just sit down and wait for it?
MR. MALONE: Yeah. Sure. Cause, you know, I want to catch her before she gets off work.
(He sits down at the dining table.)
JACK: You'll catch her.
MR. MALONE: Yeah.
(JACK sees the photo album on the table, and turns to a picture of his parents on their wedding day.)
JACK: Trust me, you'll catch her.
(He smiles at his father, who has put on his hat and is now fully decked out and ready to go.)
CUT TO:
[Int: FBI offices - bullpen - day]
(MARTIN opens a bottle of Vicodin (labeled one every 4-6 hours), shakes out two pills, and takes them with his coffee. He tucks the bottle back into his jacket pocket. DANNY walks up to his desk.)
DANNY: You taking your, ah, daily vitamin?
MARTIN: That fall I took on the Max Cassidy case kinda jacked my hip up again. Just taking care of business. What's up?
(DANNY looks worried, but concentrates on the case.)
DANNY: NYPD says they got a guy who spotted our girl. So Viv and I are going to go check it out.
MARTIN: Great.
DANNY: Alright.
(MARTIN sighs, and goes back to drinking his coffee as DANNY leaves.)
CUT TO:
[Ext: New York City street - day]
(DANNY and VIVIAN approach a man ordering food from a street vendor.)
VIVIAN: Mr. Barrio?
MR. BARRIO: Yes, that is my name.
VIVIAN: You say that you remember seeing this woman?
(VIVIAN hands him a picture of CARMEN.)
MR. BARRIO: Yes. I remember the blood on her coat.
DANNY: What do you mean, blood on her coat?
MR. BARRIO: I was closing up the stand. She came walking from (indicating) that way.
FLASHBACK TO:
[Ext: New York City street - night]
(MR. BARRIO is locking the gates around the food stand. He turns as sees CARMEN walking haphaphazardly down the street. She is wearing a white coat covered in blood.)
MR. BARRIO: Miss? Miss, are you alright?
CARMEN: Do I know you?
MR. BARRIO: I don't think so.
CARMEN: Who are you? Where am I?
MR. BARRIO: Are you hurt, miss?
(She looks down, just realizing that she has blood all over her coat and hands.)
CARMEN: Oh god. Oh, my god!
MR. BARRIO: Should I call the police?
CARMEN: No!
MR. BARRIO: Miss, please.
CARMEN: Don't touch me!
(She tears off the coat. He tries to stop her, but she shoves the coat in her hands and moves quickly in the other direction.)
MR. BARRIO: No. Miss, please, come back. Miss, please.
END FLASHBACK. RESUME TO PRESENT.
DANNY: Well, did you offer to help her? Did you call 911?
MR. BARRIO: She didn't want my help.
VIVIAN: What about the coat?
MR. BARRIO: Yes, I...Let me show you.
(He hands the picture back to VIVIAN, then leads them across the street to a shopping cart resting next to a dumpster.)
MR. BARRIO: I threw it...
DANNY: In there?
MR. BARRIO: Yes.
(DANNY digs through the contents of the cart, and finds the coat.)
MR. BARRIO: Yes, that's it. That's the one.
VIVIAN: That's a lot of blood.
(VIVIAN looks down the road, imagining CARMEN walking alone at night, with her blood-soaked coat.)
FADE OUT
[COMMERCIAL BREAK]
FADE IN
[Int: FBI offices - bullpen - day]
(SAMANTHA approaches VIVIAN and ELENA, who are seated at the conference table, going through evidence.)
SAMANTHA: Hey. Anything on the coat?
ELENA: The lab should have the prelims soon. Did she have injuries consistent with that much blood?
SAMANTHA: Not that I could tell and not according to the medical report.
VIVIAN: So she committed or witnessed a violent crime.
ELENA: Well, she could be faking the amnesia to not get caught.
SAMANTHA: I don't know. I can't tell with this girl.
VIVIAN: Well, we also found a metro card and some coupons in her coat pocket. If she is rich, she's not spending her money on food.
ELENA: Okay. I called the MTA. I'll run the metrocard and concentrate on her stops.
(VIVIAN's phone rings.)
VIVIAN: Johnson. Right. Okay, thanks. (She hangs up.) Prelims came in from the lab. The blood on the coat was B negative.
ELENA: You know, I downloaded a list of violent crimes reported that night in the same area, so come over here.
(They move over to ELENA's desk, where she brings up the list on her computer.)
ELENA: There was a man found murdered outside his apartment on 10th and Broadway. The blood type is B negative.
SAMANTHA: 10th and Broadway. That's what? About twelve blocks from where she was found?
VIVIAN: Yeah.
SAMANTHA: What do you think?
VIVIAN: Go talk to her. See what you can find out. But if this is a murder case, you've got to turn it over to NYPD.
SAMANTHA: Okay.
(VIVIAN's phone rings again. She walks away from ELENA's desk to answer.)
VIVIAN: Yeah.
INTERCUT WITH:
[Int: elderly care facility - hallway - day]
(JACK stand in the hallway outside his dad's apartment.)
JACK: Where've you been? I called you twice. I left you messages.
VIVIAN: Yeah, yeah, I'm sorry. I was about to call you back, then we got a hit on the case.
JACK: Okay. Um, fine. Look, can you do me a favor? Can you call your doctor? The heart specialist. Ask him who the best kidney doctor in the city is.
VIVIAN: For you?
JACK: No, it's not for me. Could you just do it, please?
VIVIAN: Is there a specific problem I could talk to him about?
JACK: I can't get into it. Can you please do it?
VIVIAN: Okay.
JACK: Thank you.
CUT TO:
[Int: elderly care facility - FRANK MALONE's apartment - continuous]
(JACK walks into the apartment, but doesn't see his father.)
JACK: Dad? Dad?
(He looks into the other rooms.)
JACK: Dad? Dad, where are you? Frank?
(He hears sounds coming from the closet near the front door. He opens the door to find his dad, curled up in the corner, sobbing.)
JACK: Frank?
FRANK MALONE: I'm sorry, dad, please. I didn't mean to break the chair. I'll pay you for it. I'll do anything. Please don't hit me.
JACK: I'm not going to hit you, Frank.
FRANK MALONE: You always say that, but...
JACK: I promise. Forget about the chair. No one's going to hit you.
FRANK MALONE: I just sat in it. I don't know what happened.
JACK: It doesn't matter. We'll fix it. We'll fix the chair, okay?
(There is a knock at the door.)
FRANK MALONE: (fearfully) Who's that?
JACK: (to whoever is at the door) Just give me a second!
FRANK MALONE: Someone's there. Who's that?
JACK: Forget it. Just come out.
FRANK MALONE: No, no.
JACK: Just...stay there, okay?
(He goes to answer the door. It's a man with the papers JACK requested.)
JACK: Yeah?
MAN AT DOOR: I've got those papers you need. Just sign here.
FRANK MALONE: (in the background) I didn't mean to break the chair.
(JACK looks down at the papers, and glances sadly at his dad, cowering in the closet.)
FRANK MALONE: I'm sorry. I'm sorry.
(JACK sighs and signs the papers, then hands them back to the man at the door.)
JACK: Thank you.
CUT TO:
[Int: Cityview Psychiatric Hospital - CARMEN's room - day]
(SAMANTHA shows CARMEN pictures of evidence, including the bloody coat.)
SAMANTHA: It's yours. You were seen wearing it the night you were picked up. Do you remember that?
CARMEN: (shaking her head) Sorry, I don't recognize that.
SAMANTHA: (clearly impatient with her) Okay. What about this man?
(SAMANTHA shows her a picture of the man from the crime report. CARMEN won't look up at the picture.)
SAMANTHA: Hey! I need you to look at this picture. This man was stabbed seven times.
CARMEN: Why is that my problem?
SAMANTHA: Because the blood on your coat matches his blood type.
CARMEN: I told you, that's not my coat!
SAMANTHA: His name is Raymond Salas. Does that sound familiar to you?
CARMEN: Nothing seems familiar, alright? I don't know him! I've never met him!
SAMANTHA: There's something you are not telling me.
CARMEN: Back off!
SAMANTHA: I don't know what happened to you, but you remember something. And if you don't tell me what it is, I'm going to have to assume that you are guilty of murder. Do you understand that?
(CARMEN begins to have flashes. A man with a knife. A broken sign with a flickering bulb.)
CARMEN: They're just images, okay? They...I thought they were a nightmare.
SAMANTHA: Describe them to me.
CARMEN: I'm in an alley. There's a red door and a fire escape. And this man, he's assaulting me.
SAMANTHA: What does he want?
CARMEN: I don't know. But we're not alone.
SAMANTHA: Who else is with you?
FLASH TO:
(CARMEN's "nightmare": She is attacked from behind by a man. There is a little boy standing in front of her. He only moves his head to look up at her. There are bees crawling all over the red door she mentioned earlier. A broken Parking sign flickers. CLAUDIA fights against the man who is holding her.)
SAMANTHA: Okay. Look, let me get this straight. There were bees?
CARMEN: (nodding) Yes. No! I don't know. All I know is that I had to defend us, I had to. I stabbed him.
FLASH TO:
(CARMEN grabs the man's knife and stabs him. He falls to the ground, not looking like the man in the picture, though the vision is blurry. She screams and wipes the blood from her hands onto her coat.)
SAMANTHA: (v.o.) What happened to the boy?
CARMEN: (v.o.) He couldn't breathe. He was suffocating.
(THe little boy is gasping for breath, clutching at his throat. He falls to the ground, but is now the stabbed man.)
SAMANTHA: Did you stab the man or did you stab the boy?
CARMEN: The man! I stabbed him. I killed him.
FADE OUT
[COMMERCIAL BREAK]
FADE IN
[Int: FBI offices - bullpen - day]
(MARTIN, VIVIAN, and SAMANTHA evaluate the evidence on the white board.)
MARTIN: Okay. These are 360 degree shots of the location where Raymond Salas was killed. Donna mentioned an alley, when this is clearly a parking lot. She mentioned a red door and a fire escape, these buildings have neither. And she said she heard subway sounds, but I checked the MTA map. The closest train crosses four blocks from there. As far as the little boy goes, we got nothing.
VIVIAN: Chances are, we'll find him before we find a swarm of bees in Manhattan in the summer.
SAMANTHA: So what? She confesses to a murder she didn't commit?
MARTIN: Maybe she prefers Riker's over Cityview.
VIVIAN: What about the little boy? She give you anything else?
SAMANTHA: Nope. That's the first time she's talked about him.
MARTIN: Maybe he's a runaway. I'll go ahead and check NYPD. We could get lucky and he could be a witness.
VIVIAN: Or a victim.
(They each go their separate ways.)
VIVIAN: Sam.
SAMANTHA: Yeah.
VIVIAN: You're going to have to call the DA. You've got a confession to an open murder case.
SAMANTHA: I'm going to talk to her first. I think she's just confused.
VIVIAN: It's not our problem.
(SAMANTHA nods, and walks out of the bullpen.)
CUT TO:
[Int: Cityview Psychiatric Hospital - CARMEN's room - day]
SAMANTHA: The things you mentioned don't match his murder.
CARMEN: So what?
SAMANTHA: So, I don't think you killed him.
CARMEN: What the hell does that matter?
SAMANTHA: It matters because unless we find out what really happened to you, the DA will press charges. You'll be declared incompetent, and you'll wind up back here, locked up, as a ward of the state.
CARMEN: Then your job's done.
SAMANTHA: Excuse me?
CARMEN: You want to help me find out who I am, right? Well, even if I don't remember killing that guy, I remember killing someone. So, that's who I am.
CUT TO:
[Int: FBI offices - tech room - day]
(ELENA and MARTIN look on as MACK presents the evidence he has run through the computer.)
ELENA: What do you got, Mack?
MACK: Okay. Just going over the rest of the lab work from the coat, and there's more than just blood on it. If you look in the collar area and cuff, I found traces of Titanium OXide, Castor Oil, and D&C Yellow #10.
ELENA: Sounds delicious.
MACK: I just ran the compound through a public database and each appears as an element in like three hundred products. But, the compound combines in only one product, and that's theatrical makeup.
MARTIN: Maybe she's a makeup artist.
ELENA: Or an actress.
MARTIN: You know, she swiped her Metrocard quite a few times at the Astor Place stop downtown. That area is full of small theaters. See if any pop up for violent crimes on that night.
MACK: Alright, I'm on it.
(He runs the information through the computer. It tracks the violent crimes in the area.)
MACK: Got one. At the Howard Theater at Essex and Stanton.
ELENA: That's where I'm going. I'll have Sam meet me there. Thank you.
MACK: You're welcome.
MARTIN: Good work, Mack.
(He hits fists with Mack, then turns to leave the room, moving carefully as though the pain is bothering him again.)
CUT TO:
[Int: FBI offices - hallway - continuous]
(MARTIN reaches into his coat and takes out the bottle of pills. He stares at it for a moment, then empties the bottle directly into his mouth.)
CUT TO:
[Int: elderly care facility - FRANK MALONE's apartment - day]
(JACK hands his dad, who sits at the kitchen table, a glass of water.)
FRANK MALONE: I can't keep anything down.
JACK: It's just water, okay? You're dehyrated. You need to drink something.
(JACK walks around the room, picking up dirty dishes.)
FRANK MALONE: You look like crap.
JACK: Thanks.
FRANK MALONE: You stayed here all night?
JACK: Yeah. Keep an eye on you.
FRANK MALONE: That's nice.
JACK: Didn't you tell me that you were selling papers when you were eight?
FRANK MALONE: Yeah. It was the Depression. Everybody did what they had to.
JACK: What about your old man? What was he like?
FRANK MALONE: I didn't know much about him, really. He was out of the house so much, you know, with the mill. And then, after that, he went off to fight in the war.
JACK: It must have been tough not having him around.
FRANK MALONE: I didn't really think too much about it. It was just the way that it was.
(There is a knock at the door. DR. RAKER enters with two orderlies.)
FRANK MALONE: What the hell is this?
DR. RAKER: We're taking you to the hospital, Frank.
FRANK MALONE: No, you're not. You can't do that. Take you hands off me.
JACK: You need medical attention, okay?
ORDERLY: Come on, sir.
FRANK MALONE: You can't do that.
JACK: I can do it. I got a court order.
FRANK MALONE: No. You lied to me, you bastard.
(He struggles against the orderlies. DR. RAKER looks at JACK.)
DR. RAKER: It's okay.
FRANK MALONE: Get the hell away from me!
DR. RAKER: Be careful of his back. Frank, it's okay.
FRANK MALONE: Get away from me!
JACK: Just go easy on him, okay?
DR. RAKER: It's going to be okay, Frank.
FRANK MALONE: No, it's not okay. I'm not going nowhere. You betrayed me, you son of a bitch. Get away from me.
DR. RAKER: Don't hurt him.
FRANK MALONE: I'm not going anywhere.
JACK: Okay. Just stop. Stop, stop, stop. Forget it. Would you please, just go.
FRANK MALONE: Get out of here.
(JACK closes the door behind them, and sits down heavily on a chair across the room from his father. The two men look at each other.)
CUT TO:
[Int: Howard Theater - day]
(A man with his arm in a sling, SASHA NICHOLS, gives instructions to a crew member working backstage at the theater. SAMANTHA and ELENA approach.)
SASHA NICHOLS: Let's just collapse those two pews and center them.
SAMANTHA: Sasha Nichols?
SASHA: Yeah.
SAMANTHA: Hi. I'm Special Agent Spade. This is Special Agent Delgado. We're with the FBI. We have a police report that says that you were stabbed in the alley outside of here on Monday.
SASHA: That's right. Did you find my watch?
ELENA: We're not here about that. There was a woman with you. A Carmen Kane, according to the police report.
SAMANTHA: (Showing them a picture of CARMEN) Is this her?
SASHA: Yeah. Is she okay?
ELENA: Um, we're going to need you to tell us exactly what happened that day, okay?
SASHA: Well, we were having some problems. She was struggling in the second act, so we had to have a little talk.
FLASHBACK TO:
[Ext: alley behind Howard Theater - day]
(SASHA and CARMEN exit the buildling to the alley via a red door.)
SASHA: But it's not just this performance, Carmen. It's been weeks now. I don't understand. What's going on?
CARMEN: I told you. I don't, I don't know.
SASHA: You're not connecting to the material. You're holding back. It's just not...
CARMEN: (interrupting) But I'll find it. Just give me a chance.
SASHA: I don't think we can wait for you anymore.
CARMEN: Wait for me? What are you talking about? Sasha, look at me. Sasha? Oh my god, you're going to fire me.
SASHA: I'm sorry, but I have no choice.
CARMEN: Don't do this, please.
SASHA: I need the dress and the shoes back for wardrobe.
CARMEN: What? No, I can do...
(She cuts off as she is grabbed from behind by a man with a knife.)
MUGGER: I'll slice her, alright?
SASHA: Alright.
MUGGER: Give me whatever you got, now.
(The MUGGER rummages through CARMEN's pockets, as SASHA hands over his wallet and cell phone.)
MUGGER: The watch too.
(SASHA takes it off and hands it over, looking very angry.)
MUGGER: Come on.
(Once he has the watch, the MUGGER takes of running down the alley. SASHA pursues him.)
CARMEN: Sasha, don't!
(While fighting with the MUGGER, SASHA gets stabbed.)
CARMEN: Leave him alone! Oh, my god. Oh, my god.
(SASHA staggers into her, getting blood on her coat, then falls to the ground. She screams for help. A parking sign flickers in the background.)
CARMEN: Help! Somebody, please!
END FLASHBACK. RESUME TO PRESENT.
SASHA: So much for the karate class at the Y. Next thing I know, I'm in the hospital. Bastard just missed my lung.
SAMANTHA: Um, could you tell me why you think she was having so much trouble with the play?
SASHA: I have no clue, really. It's a fairly straightforward play. A woman dealing with the death of her brother. She was brilliant in the audition and ever since, it's been downhill.
ELENA: Do you have any ID or contact information on her?
CUT TO:
[Int: FBI offices - bullpen - day]
(SAMANTHA puts one of Carmen's headshots up on the white board, while VIVIAN searches for information on her computer.)
VIVIAN: Carmen Kane. I got her registered with SAG and AFSTRA, but nothing with the DMV, IRS, or anyone who can help us.
SAMANTHA: Maybe it's a stage name.
VIVIAN: Oh, it says here she went to the Connecticut State School of Drama.
(MARTIN walks up and joins their discussion.)
MARTIN: So, it turns out that Raymond Salas was killed by a jealous husband.
SAMANTHA: Alright, long shot. Maybe she confused the director's stabbing with Raymond Salas's stabbing.
MARTIN: But it still doesn't explain the little boy.
SAMANTHA: No, and it doesn't explain the bees.
VIVIAN: (finding the info on her computer) Ah. In the spring of 89, I've got one student by the name of Carmen Kuskowski.
MARTIN: No wonder she changed her name.
(SAMANTHA's phone rings.)
SAMANTHA: Yeah. What? Um, no, you know what. We'll be right down.
MARTIN: What's up?
SAMANTHA: Carmen's gone.
MARTIN: Grab Elena and I'll meet you there.
SAMANTHA: Alright.
CUT TO:
[Int: elderly care facility - hallway - day]
(JACK sits in the corridor, talking with DR. RAKER.)
JACK: You know, when I was 16, my mother killed herself. I didn't do anything to try and stop it.
DR. RAKER: This isn't the same thing.
JACK: Isn't it?
DR. RAKER: He's a sick man, and it's only going to get worse. A lot worse. Maybe letting him go isn't the wrong thing to do.
JACK: That's what you're advocating?
DR. RAKER: I'm telling you the facts. You fight for this, it's not going to be pretty. And I'm not sure you're going to get what you want out of it either.
JACK: I'm just not ready.
DR. RAKER: I know. But I think he is. I'll be around if you need me.
JACK: Thanks.
CUT TO:
[Int: Cityview Psychiatric Hospital - main corridor - day]
MARTIN: Hey. She's not here. We checked her room, the day room, bath rooms. Security's checking the adjacent wards.
ELENA: What did the nurse say?
MARTIN: She was confined to her room, but they think she slipped out about an hour ago while they were passing out meds.
SAMANTHA: How? How the hell did she get out?
MARTIN: Well, apparently there's a group of plumbers working on the bottom floor. They think the door's been open and closed all day long.
ELENA: Well, why would she run.
SAMANTHA: Because I made her think that she'd killed somebody.
FADE OUT
[COMMERCIAL BREAK]
FADE IN
[Int: CARMEN's apartment - day]
(SAMANTHA and DANNY search CARMEN's apartment.)
DANNY: (into his phone) Okay. Thanks. (He hangs up.) They're still searching the hospital and they've notified Port Authority.
SAMANTHA: Danny, check this out.
DANNY: what?
(She holds up a crinkled pictures of a little boy.)
SAMANTHA: Maybe the little boy from the stabbing scene.
DANNY: Could be a cousin, a friend, who knows.
(DANNY listens to the answering machine.)
MACHINE: You have two new messages.
SHANNON: (on machine) Hey Carmen, it's Shannon. I heard about what happened. I thought you might want to talk. If you do, just call me, okay? Bye.
SHANNON: (on machine) Where are you, Car? I don't know. Maybe I shouldn't freak. But I'm worried about you. I just hope you're okay.
MACHINE: End of messages.
DANNY: I love caller ID.
(The phone display shows: SHANNON KELSO, 1-718-555-0117)
DANNY: Shannon Kelso. 718 area code.
CUT TO:
[Int: FBI offices - private office - day]
SHANNON: Car and I temp together downtown. Graveyard shift. Proofing contracts for hotshot lawyers while they wine and dine at Balthazar. We hit it off.
VIVIAN: So how did you hear what happened at the Howard Theater?
SHANNON: I went there to see her.
VIVIAN: And that's how you heard about the mugging?
SHANNON: I got worried. She was already having a real rough time of it.
VIVIAN: What do you mean?
SHANNON: I think she was depressed. Last time I saw her, I asked her why, but I don't think I helped.
FLASHBACK TO:
[Int: CARMEN's apartment - day]
SHANNON: So, are we going to a movie, or what?
(CARMEN closes the laptop she was working on. SHANNON sits next to her on the couch.)
CARMEN: Yeah. Sorry, I just wanted to download some new music cause everything I have just makes me wanna cry. I actually had to turn off the Go-Gos the other day.
SHANNON: The Go-Gos made you cry? That's really sad.
CARMEN: Shannon, I think something's wrong with me, because I feel like I'm turning into a basket case.
SHANNON: You're okay. You've got a lot going on. And you want to do well in the play. That's a lot of pressure.
CARMEN: Yeah, but, it's not just the play. I can't figure it out. It's just...everytime I try to focus on something, these dark feeilings come and...I feel like I'm driving through a fog and any moment I'm gonna crash.
SHANNON: You're not going to crash. Whatever happens, you'll be okay.
CARMEN: I'm not so sure about that.
END FLASHBACK. RESUME TO PRESENT.
VIVIAN: And how long had she been depressed?
SHANNON: A couple of months.
VIVIAN: So, since she started the play?
SHANNON: I think so. When you mentioned she had been in the hospital, I thought that was a good thing.
VIVIAN: Hmm. How about family? You ever meet them?
SHANNON: Her parents live overseas. She talks to them every couple of weeks.
VIVIAN: (showing her the picture found in CARMEN's apartment) This her brother?
SHANNON: She said it was. But she never really talked about him.
CUT TO:
[Int: FBI offices - bullpen - day]
(SAMANTHA walks over to DANNY with a printout.)
SAMANTHA: Okay. Carmen Abigail Kuskowski. Born in Connecticut, 1979. Father's an entymologist. Mom is a teacher. Brother Noah, born in '82 died in 1989.
DANNY: Kuskowski. (His search on the computer brings up a blip on Noah.) Listen to this. Noah Kuskowski, age six, dies of anaphyalctic shock after being attacked by bees in the presence of his sister. He was stung forty-two times.
SAMANTHA: (Her face registers recognition) Wait a second. She watched him suffocate?
DANNY: According to the Portland Daily from May of '89.
SAMANTHA: Wow.
(SAMANTHA flashes to the little boy in the alley and the bees.)
SAMANTHA: Okay, I know this is going to be a stretch, but I want you to bear with me. Her friend said she was depressed, alright? She's playing a character whose brother dies, so she's already vulnerable. Then she witnesses this stabbing.
DANNY: That's great. Where does the amnesia come in?
SAMANTHA: That's exactly where the amnesia comes in.
(INTERCUT WITH: scenes from the stabbing and CARMEN's vision of the little boy.)
SAMANTHA: The trauma from the stabbing pushes her over the edge. She shuts down to block out the pain.
DANNY: Would make sense.
(SAMANTHA's phone rings.)
SAMANTHA: Spade. Are you sure? Ah, okay. Yeah, we're on our way. Okay, thanks. (She hangs up.) That was the hospital. They just finished checking those surveillance tapes. Apparently, Carmen never left the buildling.
DANNY: Let's go.
CUT TO:
[Int: Cityview Psychiatric Hospital - corridor outside nurses station - day]
(LAURIE searches the key cabinet. As she sees DANNY, SAMANTHA, and ELENA approaching, she goes out to meet them.)
LAURIE: One of the Master keys from the medical cabinets is missing. We keep all our controlled narcotics in there. Here are three other master keys.
ELENA: Security's searching the lower floors.
SAMANTHA: Alright, why don't we fan out up here?
DANNY: Alright, I got this hall.
(They split up and check various locked doors throughout the hallways of the hospital.)
(SAMANTHA hears a metallic banging coming from one of the rooms. It's CARMEN, hitting the lock on the narcotics cabinet with a fire extinguisher. That not working, she slumps to the floor, crying.)
(SAMANTHA uses her key to open the door to the room.)
CUT TO:
[Int: Cityview Psychiatric Hospital - medical supply room - continuous]
SAMANTHA: Carmen?
CARMEN: I wanted to swallow the whole cabinet, but I couldn't break the lock.
SAMANTHA: That's good. Your name is Carmen Kuskowski. You're 26 years old, you're from Connecticut. You came here a year and a half ago because you wanted to be an actress. And all of this started when you witnessed a stabbing.
(CARMEN stares at her in shock.)
(SAMANTHA hands her a picture of CARMEN with her parents.)
SAMANTHA: This is a photo of your family.
CARMEN: She looks so happy.
SAMANTHA: She does.
CARMEN: It's like you're telling me someone else's story. It make sense, it's just not me.
SAMANTHA: We talked to your mom. She's flying out here. She'll tell you everything you need to know.
CARMEN: (She nods.) Isn't it all supposed to come back to me?
SAMANTHA: I hope it does. I really do. But, at least, now you're not alone, and you have someone who loves you coming to help.
CARMEN: Okay. (She smiles, though still very upset.)
SAMANTHA: Okay. Come on. (She helps CARMEN up.)
CARMEN: Okay.
CUT TO:
[Int: Cityview Psychiatric Hospital - corridor - continuous]
(SAMANTHA leads CARMEN back to the nurses station. She puts her arm around CARMEN as they walk. LAURIE is there waiting for them.)
LAURIE: Thanks, Sam.
SAMANTHA: No problem.
(LAURIE leads CARMEN off in a different direction. As they walk away, CARMEN looks over her shoulder at SAMANTHA, who waves. CARMEN smiles and waves back.)
CUT TO:
[Int: elderly care facility - FRANK MALONE's apartment - day]
(JACK closes up the photo albums covering the coffee table and straightens up the room. There is a sound from the other room.)
JACK: You okay? You've been in there a long time.
(FRANK MALONE comes into the living area from another part of the apartment. JACK goes over to him.)
FRANK MALONE: Yeah, I got this bladder infection. It hurts like something else. Anyway, why do you care? Hey, why don't we put something on, like Dizzy Gilespie or John Coltrane or...
JACK: Dad. Do you know who I am right now?
FRANK MALONE: No. But you're a pain in the ass.
JACK: Okay fine. (He helps his dad over to the couch.) Why don't you have a seat on the couch, okay? Okay?
FRANK MALONE: Yeah.
JACK: Listen. I want to talk to you for a minute.
FRANK MALONE: Oh, dear. This is the part where you try to convince me to change my mind.
JACK: I just want you to hear me out, okay?
(FRANK indicates that he should go ahead.)
JACK: I want you to go to the hospital. I want you to get treatment for your kidney. And I want to be there for you.
FRANK MALONE: Be there for me? Well, I'm the one knows how true that is. How the hell can you be there for me?
JACK: I'm going to take a leave of absence, alright? And I'll come here, I'll stay here, I'll take care of you.
FRANK MALONE: You can't do that.
JACK: Look, I can and I want to. But I need you to do something for me. I need you to go to the hospital and get treatment for a couple weeks. And if after that, it's not working for you, you don't want to do it? I'll get out of your way. You can do whatever you want. I just want you to give it a chance.
FRANK MALONE: Why do you want to do this for me?
JACK: Because you're my father.
FRANK MALONE: (fighting back tears) Okay.
JACK: Okay?
FRANK MALONE: Get the doctor.
JACK: I'll be right back.
FRANK MALONE: Okay.
(JACK rushes into the hall, but only gets a few steps before stopping. He goes back into the room.)
JACK: Hey, listen, dad. I just wanted to...
(He trails off when he sees his father, seemingly asleep on the couch.)
JACK: Dad? You okay? Dad?
(He reaches out and shakes him gently.)
JACK: Dad, you okay?
(Still nothing. JACK checks his pulse and finally realizes that he's dead. He sits down heavily on the couch and looks at his father. JACK takes his hand.)
JACK: I love you.
FADE TO BLACK
END CREDITS
