Without a Trace
4.12 - "Patient X"
Original CBS Airdate: 01/19/06
Transcribed from CBS
Written by: DAVID AMANN
Directed by: TIMOTHY BUSFIELD
Transcribed for www.twiztv.com by Elise B.
Contact the transcriptionist at [email protected]
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SUMMARY: A therapist vanishes and the team suspects one of her former
patients, whose identity is unknown, is responsible.
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FADE IN
[Ext: New York City (stock) - night]
[Int: psychiatry office - night]
(A woman, GINA HILL, sits on the couch in the dimly lit office, talking with
her therapist, RICHARD SIDEL.)
RICHARD SIDEL: You seem like you're somewhere else today, Gina.
GINA: I know. I'm sorry.
RICHARD SIDEL: What's on your mind?
GINA: Don, for the most part.
RICHARD SIDEL: Tell me how you're feeling about Don right now.
GINA: I love him.
RICHARD SIDEL: How does it feel to say that?
GINA: It feels good. It feels like I've come a long way.
RICHARD SIDEL: But?
GINA: But I'm conflicted about what I can tell him. About my past. About
what's going on with me.
RICHARD SIDEL: You're afraid he'll reject you?
GINA: Yeah.
RICHARD SIDEL: Seems like those trust issues are flaring up again.
GINA: Well, old habits die hard, I guess.
RICHARD SIDEL: Especially when you're about to make a long-term commitment.
You know, relationships grow through communication, so you need to really open
up to Don.
GINA: I know. I'm going to. It's amazing how you can work on all your
issues, and yet somehow they reappear in some new form.
RICHARD SIDEL: Issues are forever. We don't get a free pass because we're
therapists. How are things with your clients?
GINA: They're fine. Do you mind if we end a little early today?
RICHARD SIDEL: Sure. You've done your time in the hot seat. Now you get your
office back.
(He gets up from the chair and walks to the door of the office.)
GINA: Thanks Richard.
RICHARD SIDEL: See you next time.
(GINA goes to her desk and begins collecting her things. She glances at the
clock, which reads 6:45.)
CUT TO:
[Int: parking garage - night]
(GINA exits the elevator and walks out into the parking garage toward her car.
She pulls her keys out of her bag, then unlocks the car with her remote
entry.)
(She hears footsteps behind her and turns. She vanishes.)
CUT TO:
[Int: parking garage - night]
[caption: 2 HOURS MISSING]
(DANNY walks through the crime scene in the parking garage. The doors to
GINA's car are open. DANNY walks up to the driver's seat, where MARTIN is
sitting, going through the car.)
DANNY: Yo.
MARTIN: Hey brother. I hope I didn't break up a big night.
DANNY: Every night's a big night. Now, what have we got?
MARTIN: We've got Gina Hill, a shrink. Left her office around seven. This is
as far as she got.
DANNY: Who called it in?
MARTIN: Building security.
(They walk away from the car, surveying the crime scene. GINA's bag is
scattered across the ground.)
DANNY: Looks like a robbery gone bad.
MARTIN: Yeah, I don't know. Her IDs missing but there's still two hundred
bucks in cash in her purse. Looks like she went down swinging. Left scuff
marks from her shoes when she was dragged away.
(FLASH TO: GINA is grabbed from behind. She struggles and fights, but is
thrust into the back seat of a car.)
MARTIN: Probably a truck or an SUV based on the rubber that was laid down.
(FLASH TO: A dark SUV squeals away from the scene.)
MARTIN: Then they smashed through the guard arm at the exit.
(FLASH TO: The SUV accelerates through the exit, smashing the guard rail.)
DANNY: Whoever did this wasn't taking no for an answer.
FADE OUT
END TEASER
TITLE CREDITS
[COMMERCIAL BREAK]
FADE IN
[caption: 3 HOURS MISSING]
[Int: MCGRAW/HILL residence - living room - night]
DON MCGRAW: She called around seven. At eight when she didn't call and I
couldn't reach her, I called building security. Had them check to see if her
car was still there.
MARTIN: Well, it had only been an hour. How do you know she wasn't just
running late?
DON MCGRAW: She made a point of saying that she'd be home and that we needed
to talk.
MARTIN: About what?
DON MCGRAW: I assumed it was about the wedding. Seating plan, maybe.
SAMANTHA: You're getting married?
DON MCGRAW: Next month.
SAMANTHA: How long have you been together?
DON MCGRAW: Almost a year.
MARTIN: Any problems in the relationship?
DON MCGRAW: No. Especially not lately.
MARTIN: Were there problems before?
DON MCGRAW: At the beginning we were moving at different speeds. But Gina
would be the first to say that she has a problem with commitment. But six
months ago we set a date for the wedding, it was like a turning point, you
know. She opened up, we got closer. I mean, since then, things have been
great.
MARTIN: You work at the public defenders office, right?
DON MCGRAW: That's right.
SAMANTHA: Is there any bad blood between you and any of your clients?
DON MCGRAW: Sometimes. When I don't get them acquitted. Which is most of the
time.
MARTIN: Are there any sex offenders in your case load?
DON MCGRAW: Now, look, I get the drill. I know that you have to ask these
questions. But I don't think that this is about my clients. If anything,
it's about Gina's.
FLASHBACK TO:
[Int: MCGRAW/HILL residence - kitchen - night]
(GINA is on the phone in the kitchen with her back to the doorway. DON MCGRAW
enters the kitchen and overhears her conversation.)
GINA: No. I, I just won't, okay? I don't know how many different ways I need
to say it. Not anymore I won't! Look, this is my home. You can't just
call... Look, I don't want to do this anymore. I don't have anything else to
say. Don't call here again.
(She abruptly hangs up the phone, then runs her hand through her hair.)
DON MCGRAW: Gina, are you okay?
(She jumps, not realizing he was there.)
GINA: Hey. Yeah.
(The phone rings again. DON goes to answer, but GINA pulls the plug out of
the wall before he can reach it.)
DON MCGRAW: What's going on?
GINA: Ugh. It's just one of my patients.
DON MCGRAW: How'd he get this number?
GINA: Well, I gave it to him in case of an emergency, but he's obviously
abusing the privilege.
DON MCGRAW: This guy dangerous?
GINA: No, he's just upset.
DON MCGRAW: Well, you want me to call Lieutenant Guider? He owes me a favor.
GINA: No, it's not a police situation. It's just a professional issue. I can
handle it.
DON MCGRAW: Okay. Then, you'll get rid of him?
GINA: Of course.
END FLASHBACK. RESUME TO PRESENT.
DON MCGRAW: The next day she'd told me that she terminated him. I thought
that was the end of it.
SAMANTHA: Did she tell you his name?
DON MCGRAW: No, she didn't. She's a real stickler about patient
confidentiality.
SAMANTHA: Okay, have you seen anyone suspicious around the house? Same care
driving by over and over? Anything like that?
(As SAMANTHA questions DON MCGRAW, MARTIN tries to take notes. He glances
down and his hands won't stop shaking. He clenches his fists in an attempt to
calm down.)
DON MCGRAW: I don't think so. Maybe I should have paid more attention.
MARTIN: Is there anyone else that she may have talked to about this client of
hers?
DON MCGRAW: Her therapist, possibly. He works in the same building. His
name's Richard Sidel.
[white board: 2 WBD - GETS CALL FROM PATIENT X]
CUT TO:
[caption: 13 HOURS MISSING]
[Int: FBI offices - hallway - day]
ELENA: Hey Viv. The PD's office sent a list of Don's clients. So far no
one's popping. But the phone records indicate that he was right. They got
eight phone calls to the house that day, all from the same number.
VIVIAN: Whose number?
ELENA: Well, it's a pay phone, so...
VIVIAN: What about friends and family?
ELENA: Talked to three of her girlfriends and they didn't know anything. So,
I'm assuming she's more of a listener than a talker.
VIVIAN: Yeah, well, she's a shrink.
ELENA: What about the Explorer?
VIVIAN: Well, whoever took her drove a blue '95. The lab IDed trim and paint
from the scene.
ELENA: So, if he's one of Gina's patients all we have to do is check who
drives an Explorer.
VIVIAN: Yeah, only we don't know who her patients are and without probable
cause, no judge is going to let us look into her files.
ELENA: He doesn't need to know. (off VIVIAN's look) Just kidding.
VIVIAN: I'm headed over to the courts, see what I can do. You see what you
can find out.
ELENA: How am I supposed to do that?
VIVIAN: Be creative. And keep it legal.
(ELENA laughs as she walks back to her desk.)
ELENA: It's more fun the other way. You know that.
CUT TO:
[Int: FBI offices - private office - day]
RICHARD SIDEL: I just had a session with Gina last night.
JACK: What did you two talk about?
RICHARD SIDEL: You know I can't discuss that.
JACK: What about her emotional state? Is that confidential too?
RICHARD SIDEL: She was preoccupied, but nothing came up that would speak to
her getting abducted.
JACK: Did she talk to you about her clients?
RICHARD SIDEL: Sometimes that's all we would talk about.
JACK: So, if she was having a problem with someone, she would tell you?
RICHARD SIDEL: She usually does.
DANNY: Has she mentioned anything to you about cutting one of her patients
loose?
RICHARD SIDEL: (surprised) She terminated with a client?
JACK: A client who was calling her at home. Harassing her.
RICHARD SIDEL: Well, this puts what happened to her last week in a different
light.
FLASHBACK TO:
[Int: psychiatry offices - hallway - day]
(GINA walks through the hallway toward her office. RICHARD comes around a
corner and catches up to her.)
GINA: Richard. Good morning.
RICHARD SIDEL: I was just about to leave a very passive-aggressive note on
your door.
GINA: Oh. (realizing) I missed our session.
RICHARD SIDEL: First time in four years. Got me searching for a hidden
meaning.
GINA: Oh, Richard, I'm so sorry. I totally forgot.
RICHARD SIDEL: No such thing as forgetting. Only avoidance.
GINA: Don't shrink a shrink. Maybe we can make it up later this week?
RICHARD SIDEL: Sure.
(They stop outside GINA's office door. She turns to go in, but RICHARD stops
her. The door is slightly open.]
RICHARD SIDEL: Wait a minute. Hold it. Did you lock up on Friday?
GINA: Yeah.
(They open the door to the office to reveal that it has been ransacked. There
are files and papers scattered over every surface.)
RICHARD SIDEL: Does it look like anything is missing?
GINA: I don't know. I can't tell. Must be those kids again.
END FLASHBACK. RESUME TO PRESENT.
RICHARD SIDEL: We've had a few half-assed break-ins over the past year. Kids
after prescription pads, drugs. I just assumed that they were responsible.
JACK: I don't think Gina did. She never filed a police report.
DANNY: Do you know if she had any potentially violent clients? Kidnappers?
Sex offenders?
RICHARD SIDEL: Possibly. She takes on sliding scale pro bono cases. It can
be a crap shoot.
JACK: But you can't tell us who they are, can you?
RICHARD SIDEL: I don't know who they are. Look, Gina was thriving at work, in
her personal life. Overall, she was in a great place.
JACK: You two seem pretty close.
RICHARD SIDEL: We're colleagues. We have a professional relationship.
Nothing more.
JACK: After your session with Gina last night, where'd you go?
RICHARD SIDEL: I had clients until eight o'clock. Then I went to dinner with
my wife. You can check.
JACK: I will.
[white board: 5 DBD - OFFICE BROKEN INTO]
CUT TO:
[Int: FBI offices - bullpen - day]
(MARTIN is on the phone at his desk. He leans over a little so that the
others in the bullpen don't overhear his conversation.)
MARTIN: Yes. Yes, I'm still here. No. No, no, look. There were three
refills in that prescription. Well, your records are wrong then, because I've
only used two of them. Okay, just call Dr. Carlisle. I'm sure he'll fax over
a new prescription. He did? Fine, yeah, fine. I'll call him myself.
(MARTIN hangs up, frustrated.)
ELENA: Hey.
(MARTIN jumps a little, nervous that she might have heard something. He
covers quickly.)
MARTIN: Hey. Hey. I gotta tell you, I'm having a hell of a time ID-ing Gina
Hill's clients.
ELENA: That's okay. Well, most of her clients bill through insurance, so we
can't get those records either. But I got her bank to turn over these
cancelled checked that she deposited into her account.
MARTIN: Smart.
ELENA: Now, five of these people, they pay her every week. So I'm thinking
they have to be patients, right?
(She hands him a list of names.)
MARTIN: Yeah, sounds good.
(MARTIN shakes his head to concentrate. He turns to his computer and puts in
information for MALCOLM NEILUS)
MARTIN: Wow, this guy's interesting. Malcolm Neilus. Convicted sex offender.
Rape.
CUT TO:
[Int: FBI offices - interview room - day]
(MARTIN questions MALCOLM NEILUS, sitting across from him at the table in the
interview room. VIVIAN leans against the wall behind MARTIN, observing.)
MARTIN: So, what kind of car do you drive, Malcolm?
MALCOLM NEILUS: A '78 Cutlass. Clean title. From the dealer.
MARTIN: No SUVs in the family?
MALCOLM NEILUS: No.
MARTIN: Sure you didn't steal one last night?
MALCOLM NEILUS: Hell no.
VIVIAN: Did you call Gina Hill at her house?
MALCOLM NEILUS: You mean my shrink?
VIVIAN: Yeah, that Gina Hill.
MALCOLM NEILUS: No. I only left messages on the office phone for appointments
and crap.
VIVIAN: Why were you seeing her?
MALCOLM NEILUS: Court ordered. You know, to supposedly help me with my
"urges".
MARTIN: Hmm. Must have been hard sitting in the same room with Gina.
MALCOLM NEILUS: Actually I like them a little older. More experience. I got
no love for Gina.
(MALCOLM glances suggestively at VIVIAN. MARTIN gets in his face.)
MARTIN: Oh, yeah. Why's that?
MALCOLM NEILUS: Let's just say she's not the kind of shrink that could help
me. That got pretty clear two nights ago.
FLASHBACK TO:
[Ext: Cupid Motel - night]
(MALCOLM NEILUS opens the door to his motel room. He pays the woman leaving
and goes to close the door, but his attention is drawn by a car pulling up in
the parking lot.)
(GINA gets out of the car and runs to a door a little ways down. A man opens
the door. GINA pushes past the man into the motel room.)
END FLASHBACK. RESUME TO PRESENT.
MALCOLM NEILUS: She's out screwing around and she's going to make me better?
VIVIAN: Yeah, well, after all, you've got standards.
MALCOLM NEILUS: She's a hypocrite. You know, the more high-and-mighty people
act, the more they got something to hide.
VIVIAN: Look, describe this guy.
MALCOLM NEILUS: Tall, long hair, 30-ish. I didn't get that good a look at
him.
MARTIN: You know why? Because it never happened.
MALCOLM NEILUS: It did happen. She was there just like I said.
VIVIAN: Was there a car parked outside his room?
MALCOLM NEILUS: Yeah. A blue Explorer.
(MARTIN glances back at VIVIAN.)
VIVIAN: You sure it was a blue Explorer?
MALCOLM NEILUS: Yeah. No doubt.
FADE OUT
[COMMERCIAL BREAK]
FADE IN
[caption: 16 HOURS MISSING]
[Int: FBI offices - interview room - day]
JACK: Are you familiar with the Cupid Motel?
DON MCGRAW: I've passed it on the way to work. Why?
JACK: Well, we believe that your fiancée was seen there two nights ago with
another man.
DON MCGRAW: There's no way. Gina was not having an affair.
JACK: I didn't say that she was. But now that we're on the subject. Did it
ever occur to you that she might be?
DON MCGRAW: No, it didn't.
JACK: Not even after those phone calls?
DON MCGRAW: No.
JACK: Mr. McGraw, you're a public defender, by nature, correct?
DON MCGRAW: Of defendants and trial lawyers. Not of my fiancée.
JACK: But if she was having an affair, there'd be no way you wouldn't notice,
right?
DON MCGRAW: I don't know.
JACK: Mr. McGraw. Was there anything odd going on in your relationship
recently?
DON MCGRAW: There was a photograph. It came about a week and a half ago.
FLASHBACK TO:
[Int: MCGRAW/HILL residence - foyer - day]
(DON MCGRAW meets GINA as she comes in the front door. He hands her an
envelope.)
DON MCGRAW: What is this? It was addressed to me.
(GINA opens the envelope. It contains a photo of GINA, wearing only underwear
and boots, lying on her bed, smiling at the camera.)
DON MCGRAW: Where'd it come from, Gina?
(She hesitates for a moment, then smiles.)
GINA: I sent it.
DON MCGRAW: You sent it? Want to explain that?
GINA: I found it in some old boxes. I thought you might like it.
DON MCGRAW: Who took this picture?
GINA: I did. I took it.
DON MCGRAW: Why?
GINA: So that when my boobs are hanging to the ground we'll have proof that it
wasn't always that way, hmm? I thought it might turn you on.
(She slides up next to him suggestively.)
DON MCGRAW: A little heads up would be nice.
GINA: Yeah? How do you think I look?
(She begins taking his coat off.)
DON MCGRAW: Pretty damn good.
GINA: Yeah? What are you going to do about it?
(He leans in and kisses her.)
END FLASHBACK. RESUME TO PRESENT.
DON MCGRAW: I believed her.
JACK: You did?
DON MCGRAW: Yeah, I did.
JACK: People lie to you all day long. Why would you believe that story? Are
you a jealous man, Mr. McGraw?
DON MCGRAW: I didn't think it was something Gina was capable of.
JACK: So, it never occurred to you that whoever took that photo might have
been sleeping with your fiancée?
DON MCGRAW: (standing up) Okay. I want to leave now.
JACK: What's your sex life like at home?
DON MCGRAW: You want me to draw you a picture?
JACK: Yes. I want a detailed portrait of what your relationship was like.
DON MCGRAW: I'd like to see my lawyer now.
JACK: Fine. Do you still have the picture? Because I'm going to need it.
(JACK gets up and walks out of the room.)
CUT TO:
[Int: FBI offices - hallway - continuous]
(LISA HARRIS, the FBI psychiatrist, stands outside the interview room. JACK
joins her.)
JACK: Dr. Harris. Thanks for coming.
LISA HARRIS: You're welcome.
JACK: What do you think?
LISA HARRIS: Fiancé certainly has motive, but I don't think he's your problem.
Did you check her history for any patient complaints?
JACK: Not yet. Why?
LISA HARRIS: She may have crossed a line with a patient.
JACK: Sexual?
LISA HARRIS: She's frequenting motels and trolling for men? That would
suggest judgment issues.
JACK: Therapist with a sexual dysfunction?
LISA HARRIS: We're not all perfect, Jack.
JACK: Yeah, I'm starting to think that.
CUT TO:
[Int: FBI offices - tech room - day]
(MACK has the photo of GINA scanned onto his computer. He compares it to a
separate picture of GINA.)
MACK: Alright. Her fingerprints were a bust. But every picture tells a
story. And this was taken in Gina's bedroom. If you compare the boudoir shot
to her DMV photo from last month, I would say it was taken six months ago or
longer.
MARTIN: Based on?
VIVIAN: Tan lines.
MACK: Could have been last summer.
MARTIN: What's this blur from?
MACK: Motion from the shutter being pressed and released.
MARTIN: So, someone else took this picture.
MACK: Yeah. And based on his sight lines, someone tall.
(DANNY leans into the tech room.)
DANNY: Hey. I got a line on our Ford Explorer.
MARTIN: Great. Where?
DANNY: Greenwich, Connecticut. 8:30 this morning, parking enforcement wrote a
ticket for an expired meter.
MARTIN: And how do we know it's ours?
(VIVIAN's phone rings, interrupting the conversation.)
VIVIAN: Sorry. (answering) Johnson.
DANNY: It came up stolen, and the headlights were broken. I'm going to go
check it out.
(DANNY leaves the tech room.)
VIVIAN: (to phone) Okay. Thanks, well, that'll have to do. (hangs up)
MARTIN: What?
VIVIAN: Bad news is the judge won't let us into Gina's patient's files.
MARTIN: And the good news?
VIVIAN: We can have her appointment book.
CUT TO:
[Int: FBI offices - LISA HARRIS's office - day]
(MARTIN hands LISA HARRIS the appointment book. On January ??? there is a
notation that reads: Drew S. 1:30-2:30 *F/u - H)
MARTIN: We were piecing together Gina's schedule and we came across this three
days ago. She had a session with a Drew S. and, um, she made this notation
next to it. Any idea what it means?
LISA HARRIS: Well, everybody has their own system. But, f slash u is probably
"follow-up" and I'm guessing the h is for "home".
MARTIN: So she was going to call the client at home. Is that unusual?
LISA HARRIS: No. No, I imagine she didn't want to wait til the next session.
Maybe something came up.
MARTIN: Okay. That works for me. Thanks Lisa.
(MARTIN picks up the appointment books and moves toward the door. LISA stops
him.)
LISA HARRIS: Hey Martin.
MARTIN: Yeah?
LISA HARRIS: How're you doing?
MARTIN: What do you mean?
LISA HARRIS: Well, you must be phased off your pain meds by now.
MARTIN: Yeah, yeah.
LISA HARRIS: Any feelings of nausea, nervousness?
MARTIN: Nope.
LISA HARRIS: No after effects from the shooting? Physical? Emotional?
(MARTIN is clearly bothered by this line of questioning.)
MARTIN: What? People talking or something?
LISA HARRIS: No, it's just a routine follow-up. Slash u.
(She smiles at him. He shakes his head as if to clear it.)
MARTIN: Right. No, actually, I'm pretty much 100% now.
LISA HARRIS: Glad to hear it.
MARTIN: Thanks.
LISA HARRIS: Sure.
CUT TO:
[Int: FBI offices - bullpen coffee pot - continuous]
(MARTIN walks directly from LISA's office to the coffee pot. He shakes out
his hands, then reaches for a coffee cup. As he is pouring, SAMANTHA joins
him.)
SAMANTHA: Drew S. is Drew Sharpe. She popped up on the phone records from
Gina's office.
MARTIN: That's, ah, that's good. You need me to set up an interview?
SAMANTHA: Already done.
MARTIN: You know, this whole thing could have been avoided if she hadn't been
meeting guys at sleazy motels.
SAMANTHA: Gina's the victim here, Martin.
MARTIN: She's also a professional.
SAMANTHA: Well, just because you can give advice doesn't necessarily mean that
you can take it, right?
MARTIN: Yeah, but shouldn't she have more control over herself?
SAMANTHA: Okay, I'm sure that's something she struggles with every day.
MARTIN: Well, Mr. Goodbar's not the solution.
(MARTIN takes his cup of coffee and strides away, leaving SAMANTHA looking
somewhat surprised about his behavior.)
CUT TO:
[caption: 19 HOURS MISSING]
[Int: FBI offices - private office - day]
(ELENA interviews DREW SHARPE, a rather hyper and nervous young woman. She is
talking very quickly.)
DREW SHARPE: So, by that time I was a drug addict and I was suicidal. I hated
myself. I hated everyone in the world. But Gina. Gina saved my life.
Before that I was just hanging out with...
ELENA: Drew. Please. One second.
(ELENA finishes taking her notes. She looks back up at DREW.)
ELENA: So, okay you had a session with her three days ago, right?
DREW SHARPE: I see her twice a week.
ELENA: Has she been known to follow-up with you afterwards?
DREW SHARPE: Oh, she tried. I didn't take her calls.
ELENA: Why not?
DREW SHARPE: Our last session. It got really weird. But all the weirdness
was coming from Gina for a change.
FLASHBACK TO:
[Int: GINA HILL's office - day]
DREW SHARPE: You know how we've been doing all this work so that I quit
seeking out men who treat me like crap?
GINA: (smiles) I seem to recall a few conversations like that, yes.
DREW SHARPE: Well, I met this guy, and, I don't know. I took one look and I
knew I should run in the other direction.
GINA: Tell me about him.
DREW SHARPE: He was cute. Troubled. Perfect.
GINA: And how did you handle it?
DREW SHARPE: Look, I know I'm supposed to recognize my triggers.
GINA: But?
DREW SHARPE: But it's like I couldn't stop myself. So, we kinda hooked up
last night.
GINA: And how'd it make you feel?
DREW SHARPE: It was, it was the most amazing, mind-blowing sex ever. Ever. I
mean, I knew that I shouldn't do it. Sitting there with him, drinking scotch
in the hotel bar, but Vince, he just looked at me and it was...
GINA: His name is Vince?
(Her tone up to this point has been serene and understanding. With this
comment, GINA sits forward in her seat, and becomes much more abrupt.)
DREW SHARPE: Yeah. And it was like I was just...
GINA: And what hotel was it?
DREW SHARPE: At the Leighton. You know, that fancy one, with tablecloths and
candles.
GINA: Is that where you first met him?
DREW SHARPE: Well, no, this is what's weird. I met him right outside this
building after our last session.
GINA: You need to stay away from him, Drew.
DREW SHARPE: What do you mean?
GINA: I know him, and he's dangerous.
DREW SHARPE: You know him? Is he a patient?
GINA: (angrily) I want you stay away from him. Do you understand me?
END FLASHBACK. RESUME TO PRESENT.
DREW SHARPE: I'd never seen Gina that way before.
ELENA: Do you think you could help us with a sketch of this guy?
DREW SHARPE: Yeah.
[caption: 20 HOURS MISSING]
CUT TO:
[Int: Leighton Hotel - bar - day]
(JACK interviews the bartender at the Leighton bar, TRAVIS. JACK shows him
the sketch of VINCE WEAVER.)
TRAVIS: Yeah, that's Vince. He was here partying a few nights back, but
that's the first time I've seen him since he got canned.
VIVIAN: Oh, so he wasn't the model employee.
TRAVIS: No, they caught him skimming the till about a year and a half ago.
You know, I surprised he even stopped by.
(SAMANTHA shows him a picture of GINA.)
SAMANTHA: Did you ever see him with this woman?
TRAVIS: Yeah. Yeah, she was here for some shrink conference. Must have been
about two years ago. It's the first time I'd seen Vince in action.
FLASHBACK TO:
[Int: Leighton Hotel - bar - night]
(A sign indicates that the party going on at the hotel for the USPA
conference. GINA sits at the bar, observing all the hubbub around her.)
(VINCE, who is working behind the bar, walks over to where she is sitting and
slides a drink across to her.)
VINCE: On the house.
GINA: Thanks.
VINCE: You're a shrink, huh?
GINA: Don't hold it against me.
VINCE: What to ask me a few questions, try and figure me out?
GINA: It doesn't really work that way.
VINCE: It does for me. Because I got you pegged.
GINA: Hmm. I doubt that.
VINCE: Pretty as you are, you're lonely. I can see it.
GINA: Do clichés actually work for you?
VINCE: 57% of the time. I've done the math. Seriously, I'm a psychic with
these ladies. See deep in their hearts, and I know what they really need.
GINA: So, try me.
VINCE: For you. What's your name?
GINA: Gina.
VINCE: Ah, Gina. Love always comes with a dose of pain, right? And the less
you get, the more you go after it, til you wind up where you are right now.
GINA: Where's that?
VINCE: Sitting here, staring at me. Hoping that next martini's going to give
you enough courage to say yes when I ask you up to your room with me. You
won't be sorry.
(He walks away to the other end of the bar. GINA glances after him,
intrigued.)
END FLASHBACK. RESUME TO PRESENT.
TRAVIS: Needless to say, she left with him when the shift was done.
SAMANTHA: Did you ever see them together again?
TRAVIS: Yeah. Yeah, they had a thing. But then Vince got fired and I haven't
seen him since.
[white board: 2 YBD - FIRST MEETS VINCE]
CUT TO:
[Int: FBI offices - bullpen - day]
(ELENA sits at her desk. She brings up the information on VINCE WEAVER that
is in the system. MARTIN reads over her shoulder.)
ELENA: Vincent Allen Weaver. Yep, he's in the system. That's an impressive
resume.
MARTIN: Um-hmm. Larceny, auto theft, armed robbery.
ELENA: Wow.
MARTIN: Guy's really moving up in the world.
ELENA: Last know address is Reno, Nevada. So what I'm going to do is I'm
going to give his picture to hotels and motels, because he needs to be staying
somewhere.
(DANNY calls to MARTIN from across the bullpen.)
DANNY: Hey Martin. We just got a hit on that parking ticket.
MARTIN: Okay. (to ELENA) Good work.
(MARTIN follows DANNY out.)
ELENA: Good.
CUT TO:
[Int: FBI offices - tech room - day]
(DANNY and MARTIN enter the tech room. MACK has video footage up on the
computer.)
DANNY: Hey Mack. Show him.
MACK: So, this video was taken at a pawn shop in Greenwich at 8:15 this
morning.
DANNY: The Explorer was parked a block away.
(The video shows VINCE and GINA in the pawn shop. VINCE appears to be
forcibly holding onto her.)
MARTIN: Well, there's Vince Weaver.
DANNY: And that's Gina with him.
MARTIN: What's she doing?
(On the video, VINCE takes a shotgun from the pawnbroker and forces it into
GINA's hands.)
DANNY: She ain't buying jewelry.
FADE OUT
[COMMERCIAL BREAK]
FADE IN
[caption: 21 HOURS MISSING]
[Int: FBI offices - bullpen - day]
MARTIN: You know, Gina has a clean record. Vince doesn't. So maybe he forced
her to buy the gun for him.
ELENA: He was standing right there. All she had to do was start screaming or
run. You don't think?
MARTIN: I don't know. But that last three times he was arrested he had female
accomplices.
ELENA: Maybe he's like a Pied Piper, leading women around with his magic
flute.
(MARTIN grins at her in response.)
MARTIN: That's one way of looking at it. Bureau of Prisons is bringing one of
the women in. I'll ask her.
CUT TO:
[Int: FBI offices - interview room - day]
(MARTIN and SAMANTHA talk to the WOMAN formerly associated with VINCE. MARTIN
slides a copy of VINCE's mug shots across to her.)
WOMAN: I haven't seen that face in a long time. Wish I hadn't seen it at all.
MARTIN: The police report says that you and Vince stole a car and led the cops
in a high speed chase. How is it that he's out and you're still in?
WOMAN: He had a bag of coke. Asked me to hold it. I got charged with intent
to sell.
SAMANTHA: Let me ask you something. How does a soccer mom from Poughkeepsie
end up taking a joy ride with a guy like Vince?
WOMAN: As stupid as it sounds, the smell. I went out to dinner with some
girlfriends. Vince was our waiter. All night long he kept leaning over my
shoulder, making jokes, never really touching me, but I could smell him. When
I got home I couldn't even look at my husband.
SAMANTHA: So how long did the affair last?
WOMAN: Three weeks. But with Vince, everything kept escalating.
MARTIN: Escalating how?
WOMAN: Well, first we had sex at his place. And then in my house. And then
in my backyard against a tree. Each time it got more and more dangerous.
Anyway, with Vince that's what it's all about. It's not enough for him to
possess a woman. He has to destroy her.
CUT TO:
[Int: FBI offices - private office - day]
RICHARD SIDEL: Yes, I know who Vince Weaver is.
JACK: And it slipped your mind the last time we talked?
RICHARD SIDEL: You were asking me about her patients. Not anyone else.
JACK: But you knew they were involved.
RICHARD SIDEL: They're not involved. They haven't been for a long time. I
didn't know Vince had anything to do with this.
JACK: What do you actually know about this guy?
RICHARD SIDEL: He's a drifter. He'd show up in town, they'd get together. A
charismatic guy, a bad boy persona.
JACK: It's not just a persona. He has quite a rap sheet. When was the last
time she saw him?
RICHARD SIDEL: Six months ago.
FLASHBACK TO:
[Int: psychiatry offices - GINA's office - day]
(GINA stands in front of her desk talking to RICHARD, who is sitting on the
couch across the room.)
RICHARD SIDEL: Gina, just tell me what happened.
GINA: I called Vince last night. We got together.
RICHARD SIDEL: Where?
GINA: Right here.
FLASHBACK TO:
[Int: psychiatry offices - GINA's office - night]
(GINA lets VINCE into the office. He takes a look around.)
VINCE: So this is where you work. Wow. Where people tell you their darkest
secrets.
GINA: Yeah.
(She leans against her desk and removes her earrings, appearing to be
disinterested in what he's saying.)
VINCE: I missed you, Gina.
GINA: Let's just do this.
VINCE: Right, right. You don't want to hear that from me. That's not what
I'm for. No dinner parties and small talk. Just this, huh?
(VINCE pulls her around to face him.)
VINCE: But when we get started and I take you to that edge, I own you. And
you'd do anything for me, wouldn't you baby?
(He tears her shirt open and starts kissing her.)
GINA: Yeah.
END FLASHBACK. RESUME TO PREVIOUS FLASHBACK.
GINA: I threw up after.
RICHARD SIDEL: Gee, what do you think that means?
GINA: Thanks for the support.
RICHARD SIDEL: You acted with purpose, Gina. You sought him out. Why?
GINA: I guess that's just who I am. I'm tired of trying to change it.
RICHARD SIDEL: What happened two days ago?
GINA: What does it matter?
RICHARD SIDEL: You told me you had a big talk with Don. What was it about?
GINA: It was about marriage.
RICHARD SIDEL: That's what this is about. You've been with Don eight months.
He loves you. He wants to get closer and that's too scary. So you acted out.
GINA: I need to tell Don.
RICHARD SIDEL: Of course, so you can sabotage the relationship. Because you
don't feel worthy of real love. See this behavior for what it is, Gina.
(GINA sits down on the couch next to RICHARD. She is near tears.)
GINA: Why do I keep doing this? You know, it's like I'm going backwards.
RICHARD SIDEL: Because marrying Don would require you to make a leap of faith.
GINA: I don't know what to do.
RICHARD SIDEL: Do you love him?
GINA: Yeah.
RICHARD SIDEL: Then just jump.
END FLASHBACK. RESUME TO PRESENT.
RICHARD SIDEL: She went back to Don. They got engaged shortly after that.
And as far as I knew, she never saw Vince again.
JACK: Why would she get involved with somebody like that in the first place?
RICHARD SIDEL: An absent, withholding father. But Gina did a lot of work on
herself to break her patterns.
JACK: Obviously not quite enough work.
CUT TO:
[Int: FBI offices - hallway - night]
(DON MCGRAW sits in one of the chairs lining the hallway. MARTIN hands him a
video still of VINCE and GINA buying the gun.)
DON MCGRAW: This isn't what it looks like. It can't be.
MARTIN: The man is Vincent Allen Weaver. Have you ever seen him before? Did
Gina ever mention him?
DON MCGRAW: No. None of this makes sense.
MARTIN: You know, Mr. McGraw, often when we look for someone, we find out
things that even their loved ones don't know.
DON MCGRAW: No. No, you're wrong about Gina. She loves me.
MARTIN: I'm sure you're right. Look, why don't you head on home and I'll call
you if there's any news.
(As MARTIN turns away, his phone rings.)
MARTIN: (answering) Fitzgerald.
SAMANTHA: Martin, a clerk at the Fairbrook Motel just IDed Vince as a guest.
Danny and Viv are checking it out now.
MARTIN: Okay. Thanks.
CUT TO:
[Int: Fairbrook Motel - VINCE's room - night]
(VIVIAN and DANNY burst into the room, where a young blond woman is lying on
the bed, wearing a t-shirt and her underwear.)
TONI: Hey!
DANNY: Put your hands where I can see them!
VIVIAN: Clear.
DANNY: Clear.
VIVIAN: Alright, what's your name?
TONI: Toni.
DANNY: Where's Vince?
TONI: I don't know what you're talking about.
VIVIAN: Then whose boots are those?
TONI: I don't know?
CUT TO:
[Ext: Fairbrook Motel - parking lot - night]
(DANNY and VIVIAN drag TONI out of the room, still wearing the same clothes.)
TONI: Hey, I'm gonna freeze my ass off.
DANNY: Well, then you should have worn your thermal panties.
VIVIAN: Where's Gina?
TONI: I'm not talking to you, okay? I'm going back inside where it's warm.
VIVIAN: Sweet thing like you, your ass will be more than warm in jail.
TONI: What, what are you talking about?
DANNY: We're talking about life in prison for kidnapping.
TONI: I didn't kidnap anybody!
VIVIAN: Then tell us what happened.
TONI: I haven't seen Gina since she came to the motel two nights ago.
FLASHBACK TO:
[Int: motel - VINCE's room - night]
(VINCE opens the door and GINA storms in.)
VINCE: Well, well. I knew you'd come around sooner or later.
GINA: Nice. This is nice. Is she underage?
VINCE: Oh.
GINA: Hmm?
VINCE: This is Toni.
TONI: Hey.
GINA: Vince, I want you out of my life.
VINCE: No, no, no. You don't.
GINA: I let it slide, Vince, with the phone calls and the picture and the
break-in. And then you go after my client? My client!
VINCE: You know what's funny? She moans like you.
GINA: You are a pig. And I want you to stop it. Now.
VINCE: Oh, no. It stopped a long time ago, but you're the one who had to keep
going.
GINA: I will call the police.
VINCE: No. You call the police, you know what happens? I'm going to tell Don
that you've been snapping it...
GINA: I don't care, Vince! I don't care. Because I'm going to tell him.
It's time I told him. It's over.
VINCE: You're gonna be back.
GINA: It's over, Vince.
(She leaves the motel room, slamming the door. VINCE yells after her.)
VINCE: You're gonna be back, just like you always are, Gina. Because you
always come back!
END FLASHBACK. RESUME TO PRESENT.
TONI: The next day he went and grabbed her. He said she'd like it.
DANNY: What was she doing buying a gun?
TONI: They went to pull off a heist.
VIVIAN: What heist? What heist!
TONI: Vince broke into her office and got some names of some patients. He
Googled them. One of 'em had big bucks.
DANNY: What was the patient's name?
TONI: Michael. Michael something.
FADE OUT
[COMMERCIAL BREAK]
FADE IN
[caption: 23 HOURS MISSING]
[Int: FBI offices - bullpen - night]
(MARTIN sits at the conference table, talking on his cell phone. SAMANTHA
walks past him on the way to her desk.)
MARTIN: (on cell phone) Have you heard from Gina at all? Okay, we'll be in
touch.
SAMANTHA: Hey. Where are we on Gina's clients?
MARTIN: She's got a couple of clients named Michael. I talked to them both.
They're fine.
SAMANTHA: I found a third one. An ex-client.
(She sits down at her desk and begins entering information into the computer.)
SAMANTHA: Check it out. Michael Ellis Sims. Looks like he quit seeing her
six months ago.
(MARTIN gets up to look over her shoulder. He's sweating and looking a little
pale. He wipes his face while SAMANTHA is too intent on the computer to
notice.)
MARTIN: And what's his story?
SAMANTHA: Well, let's find out, shall we? I think I've got something here.
He's a big time commodities trader.
CUT TO:
[Ext: MICHAEL SIMS' residence - night]
(JACK and ELENA pull up to the house and park in the driveway. They get out
of the car, weapons drawn, and make their way up to the front door.)
CUT TO:
[Int: MICHAEL SIM's residence - continuous]
(ELENA and JACK burst into the house. MICHAEL SIMS is sitting on the floor,
dialing his cell phone. He is dirty and bruised.)
ELENA: Michael Sims? FBI.
(He stands up abruptly, surprised, and puts his hands up.)
MICHAEL SIMS: Oh. Oh, god, I was just about to call the police.
JACK: You just saved yourself a quarter. Why don't you back it up? Sit in
the chair. Where's Gina?
(MICHAEL stumbles back to the chair and sits down.)
MICHAEL SIMS: I don't know. They left. I thought he was going to kill me.
JACK: Just, just settle down, okay? Back it up. Start at the beginning.
MICHAEL SIMS: There was a knock at the door.
FLASHBACK TO:
[Int: MICHAEL SIMS' residence - night]
(MICHAEL gets up to answer the door. He checks through the peephole and sees
Gina.)
MICHAEL SIMS: Gina? This is unexpected.
(As MICHAEL opens the door fully, VINCE pushes his way in, dragging GINA and
pointing the rifle he is carrying at MICHAEL.)
VINCE: Isn't that the truth.
MICHAEL SIMS: What? What are you doing? Gina, what is this?
VINCE: Give us your money now.
MICHAEL SIMS: I don't have any cash.
VINCE: You work on Wall Street, man, come on!
MICHAEL SIMS: All my assets are frozen. I'm going through a divorce. She got
everything, even the furniture. I swear, all I've got is what's on me. It's
like forty bucks.
VINCE: Forty bucks! You know what? I guess you win some and you lose some.
(VINCE grabs MICHAEL by the front of his shirt and throws him over some
boxes.)
GINA: Vince. Vince!
VINCE: See that? Look, you're flush now. You like it. Don't you tell me Don
does it for you. Not like that.
GINA: Come on. Let's go back to the motel.
VINCE: No, you see, we're going to take care of your friend here first. You
see him. He's seen us. This is all you, baby. You can do this.
(He holds the rifle out to her.)
GINA: No.
VINCE: You've got to be kidding me.
GINA: No.
VINCE: Do it for us.
GINA: No, Vince, I can't.
VINCE: Take the gun. Take it.
(She unsteadily takes the rifle. It's heavy. She lifts it up to aim it in
MICHAEL's direction.)
VINCE: Ready? There you go. Now, hold it tight because it's got a big kick,
remember? Point it right there and go baby. Right there.
MICHAEL SIMS: Please.
(GINA stands there for a few moments. She reaches for the trigger, but
instead of shooting MICHAEL, she turns suddenly and pulls the trigger at
VINCE. The gun doesn't go off. GINA pulls the trigger again, but nothing
happens.)
(VINCE grabs her, pulling the rifle out of her hands, then pushes her across
the room. She struggles to fight him off.)
VINCE: I knew you were too good to be true.
(VINCE backhands GINA.)
END FLASHBACK. RESUME TO PRESENT.
MICHAEL SIMS: I ran. I hid in the crawlspace under the house. I didn't come
out until I was sure they were gone.
JACK: And how long ago was this?
MICHAEL SIMS: Maybe five minutes.
JACK: Okay. I want you just to sit tight, okay?
(JACK and ELENA head out of the house. ELENA is already on her cell phone.)
JACK: You calling the office?
ELENA: Yeah.
JACK: Tell them to get agents out to Gina's house and all the places Vince has
been.
ELENA: Yes sir.
CUT TO:
[Ext: MCGRAW/HILL residence - night]
(MARTIN pulls up to the house and parks his car on the street. The lights are
on inside the house.)
(MARTIN takes out his weapon and moves quietly around the side of the house.
He hears voices from the kitchen. He glances through the window to see VINCE
and GINA arguing.)
VINCE: You tried to kill me. Me! What are you thinking, huh? After all
we've been through. How did this happen?
CUT TO:
[Int: MCGRAW/HILL residence - kitchen - continuous]
(VINCE is holding the rifle and raging at GINA. DON has been tied up and
gagged in the corner.)
VINCE: What do you think is going to happen now? Huh, Gina? What do you
think is going to happen now?
GINA: Vince. Just, just let him go. <
